exhibiting their work on deviantART has to be the amazing BenHeine.
In terms of sheer creativity and the true spirit of art as human expression that knows no bounds,
he is currently with few peers. His unique visual creations have been featured in newspapers, magazines
and other publications worldwide and over the last few years his works have begun to populate art galleries
and museums from Brussels and London to Turkey, Romania and South Korea.
As a photographer, fine artist and conceptualist BenHeine
has been conjured up not one but three new categories of art of
his own devising, blending together those separate disciplines.
In his Pencil Vs Camera works he first takes
a photograph and then overlays a section of that photo with a photo of his own hand holding his own penciled
sketch over a portion of the original photo. The effect is an astonishing jolt that echoes pop art but is
also entirely fresh and new. An already beautiful photo is transformed with a sketched "comment" that adds a
splash of satire or whimsy. I love the thought of our everyday monotonous surroundings taking on fantastical,
joyous, and humorous qualities.
In his Digital Circlism
works he updates the pointillism school of art by making the "points" actual
recognizable circles with which he creates portraits of pop icons and others.The effect is as striking
as posters struck from the iconic Alberto Korda photo of Che, but suddenly re-conceived to be projected
upon the infinite cyberwall of digital space.
← Jesus by BenHeine
In his Flesh and Acrylic works he photographs
models or portions of their anatomy which he has already painted in acrylic paints. In the finished work it is
at first difficult to tell where the human figure ends and the background “canvas” begins, both blending together into one surreal abstract vision.
I Don't Care by BenHeine →
His work is powered by a fearless positivity. Rarely do such brilliant purveyors of new forms and
techniques arise so startlingly in our midst, and rarer still do they display such an abundance of joie
de vivre! He is a new talent we should all be watching. If you haven’t seen his work yet, do yourself a favor and check it out right now.
Perhaps the most innovative aspect of BenHeine's art is an element transcending even his magnificent
accomplishments in photography, pencil sketches and acrylic paint. His work is probably the most joyous and
embracing expression of an infinitely and indefatigably excitement over and celebration of both traditional
and new digitally technological art creation.
All your innovations in art form (pencil vs. camera, digital circlism, flesh and acrylic) celebrate both humanity’s creative artistic imagination and humanity’s creative technological innovation in a way that’s almost absolutely seamless.Are you not fearful of the dangers of "bad" technologies – or is your art a statement about remaining positive and always finding the "good" in human progress?
I always see the good aspects in human progress. I personally don’t think there are any bad sides in technologies as long as they are used in a creative and constructive way to help artist increase their abilities. Significant innovations in graphic art are very important and do not happen so frequently. I mean having nice ideas is awesome but expressing them with totally new forms of art is even more interesting in my opinion. I don’t have any specific statement concerning my art, I just take my own direction all the time, and I believe new mediums also help artists to explore unknown fantasy universes and develop a distinctive style. In the Pencil Vs Camera series for instance, I wanted to demonstrate that it’s possible to combine drawing and photography in an imaginative, harmonious and eye-catching way. I just invented this technique to allow me to express more powerful messages with the tools most.
Your pencil vs. camera creations have the effect of simultaneously "flattening" a scene into a still life sketch while at the same time seeming to almost project it in a pop 3D fashion. What sort of statement are you making about the artist’s "eye" in relation to his media (camera or pencil) and his imagination? Are you asking us to escape or embrace reality with you? Or to explore the possibilities in both?
Pencil Vs Camera is all about illusion, dream, poetry, magic and simplicity. The challenge is to create a 3D-like drawing on a piece of paper; the sketch should be connected with the photographic background but it should also say a little story by itself. I always try to give symbolic meaning to my drawings so that the message goes deeper than the photo alone. The combination of drawing and photography is really a powerful way to express ideas. There are no limits because everything is possible; every single illusion can be created on the paper.
I think the fact that my hand is always visible attracts the attention of the viewer, it was not an easy decision at the beginning because the hand may look too big or may obstruct the whole composition of the picture but it also represents somehow a warm human invitation to the watcher to see and grasp the little story happening on the piece of paper, to escape and hopefully dream a bit. The photography always shows reality as it is, the paper represents a door to a parallel world, and the hand is the connection between these two worlds. Everybody knows reality more or less; it’s kind of boring. Ideally, the persons viewing my pencil Vs Camera images should travel in another dimension. It can be confusing sometimes for me, because this parallel world on the paper is just a reflection of my imagination at a given moment.
Your pencil vs. camera technique – your whimsical, often surreal "improvements" upon an already interesting photographic capture – seem to say as much about the artist’s process and imagination as they do about the subject matter.How much time elapses between taking the photo and penciling the addition?
Yes, you’re right, the way Pencil Vs Camera is made is also an essential point. Because it’s a new form of expression, many people want to know how it’s achieved. There are several methods to get the same results. I explained them in several past interviews. The concept is super easy to understand: draw a sketch on a piece of paper, hold it in your hand and take a photo of it in a place of your choice. I usually make a rough drawing first (it takes hours or days, depending on the complexity of the subjects I want to depict), then I go to the place in which I intend to take the photos, I hold the paper in my hand, I adjust it to make sure the main lines on the paper fits with the main lines of the reality behind, then I take the photo. In some cases, I need to make corrections and improvements in post-production to make sure everything works together.
You’ve evolved pointillism in your works by having the "points" be recognizable rather than "invisible", thus adding a symbolic significance to your subjects, a sort of modern stained glass effect.How do you pick your subjects?Are they heroes or simply pop figures and icons?
Portraits in my Digital Circlism series are made indeed with thousands of flat circles. Each circle is made of one color, one tone, one dimension and each circle is placed one after the other on a black background. I often make a photomontage first using a bunch of references, then a digital painting and I finally apply my "digital circlist" technique. There is no automated process, it takes a lot of time, generally between 100 and 180 hours for a single portrait. I generally choose to portray top celebrities I admire, not only for their work but also for their influential charisma. In my views, Digital Circlism goes in the continuity of Andy Warhol’s Pop Art portraits. And as you mentioned in your question, it is also a new take on Pointillism. I've been making all kinds of portraits since more than 15 years. I wanted to develop a very original technique. As I've been working with digital tools recently, this came quite naturally.
Your flesh and acrylic pieces provoke an ongoing debate: How far beyond the generally aesthetic into the overtly political do you intend your works to probe and provoke?Are your messages of human imagination and freedom of a general universal nature or is it ever the artist’s duty to support specific causes?
My recent works do not carry any political message. This is not my intention in "Flesh and Acrylic" or in my other recent projects. It’s true the photos belonging to the "Flesh and Acrylic" series are provocative in some ways, because models made of flesh and bones become plastic synthetic creatures, they become part of the abstract painting. In this project, my main intention was to give a new dimension to the life model, to make something new and to generate surprise, happiness and joy in the viewer’s eyes. I wanted the result for each piece to be extremely colorful and spontaneous. As usual when I do an abstract work, I paint in a very intuitive way. The final piece is often wild with unexpected effects. Finally, I try to create an optical illusion blending different layers together, which can be a bit confusing sometimes. But this is what I like the most.
As an artist of the current digital vanguard, what new revolutionary changes do you think we may soon be experiencing in the production, distribution and appreciation of new art in the very near future?
Hard to say, artists are full of surprise, you never know what come next. Globally, I think there will be more and more digital creators. I’m sure there will always be galleries and museums showing artists works. Original talents will be found via the Internet and social networks, like it’s happening already.
What do you tell young artists whom upon viewing your achievements also seek to create works of such technical innovation and striking beauty?
Everyday, I receive emails from young artists willing to receive the recognition they deserve. There are so many gifted people in this world. I always tell them to keep working hard, they must do their best to be inventive, to always believe in what they do, never give up and stay positive. Their moment will come soon or later. Talents are always found one day or later.