Based in Los Angeles, Mohamedi’s art translates complex ideas and observations into shapes and colors. “I want to make paintings that feel very true,” she remarked once in an interview with Matter of Hand. “I think I can do that if I don’t control the inception of the idea very much. I’m sort of like a semipermeable membrane; I just look at what’s around me, watch the thoughts that I have, listen to my children, listen to the air. I’m this filter for whatever’s happening around me.”

Her Iranian heritage also plays an important role and is present in the materials themselves. Mohamedi noted that in some cases she uses tubes of Middle Eastern paint imported from Iran. “Up until now I’ve mainly used oil paint,” she added, “but I’m starting to use more materials that are handy like pencils, crayons, and acrylic paint; anything that’s easy to apply and dries quickly.”

The process itself relies on intuition as much as it does on planning. “Everything inspires me,” stresses Mohamedi, talking about her sources of creative inspiration. “I’m a sponge and a filter.” Her work has been profiled in publications such as the LA Times and Huffington Post, on top of a substantial following online.

Below you’ll find some highlights from her Instagram page:

The post Maysha Mohamedi’s Abstract Art is True to Form appeared first on TettyBetty.

Broom’s love of color takes two distinct shapes: landscape painting and abstract art. Both are loosely based on realistic forms, creating a fantastical universe that’s guided by unknown forces. While her landscape paintings portray a lush, if exaggerated, scenery, providing a rose-tinted view of the natural world, her abstract paintings present a kaleidoscopic interpretation of the world around us.

“My landscapes are very densely layered and a built-up through lengthy over-painting and using a lot of different application techniques,” says Broom. “My abstract paintings are made without any tools or brushes so I have less control over the medium and this is quite a freeing way of working.”

But whatever her subject matter, the end result is open for interpretation. “I hope to make paintings that are beautiful but that also offer a narrative that can be interpreted in different ways,” she notes, “whether it’s personal, or more broadly connected to, for example, environmental concerns.”

The post Feast on Orlanda Broom’s Richly Colored Paintings appeared first on TettyBetty.

“Something that started almost as an exercise had become my style, which wasn’t actually intended,” she told Jung Katz. “I started painting this way out of a need to learn the basics of painting so that I could one day work in a looser style,” she explained. “So it became a means to an end so to speak and a challenge to see if I could master the techniques of the old masters.”

According to Reiner, what began as a challenge turned into a rigid form of painting that didn’t reflect her thoughts and feelings. Change was inevitable. “I decided that now everything was fair game, photographic source material, appropriation of imagery, using whichever materials, working from the computer screen and so on,” says Reiner. “So I turned around and did the opposite of what I used to do.”

Her experimentational style challenges the restrictions of realism but does so with a wink and a smile. Reiner herself describes her newfound style as “realism tumbles with cubism.” Her mixed-media approach involves appropriating images from magazines and advertising as a visual reference and conjoining these images with art historical elements in collage-like formations.

Her looser style also leaves room for creative interpretation. “What I  hope for, is for people to create their own narratives,” says Reiner, “that they hopefully look at the work for more than a glance.”

The post Kirstine Reiner’s Paintings Leave Room for Interpretation appeared first on TettyBetty.

Born in South London in 1994, Yearwood-Dan has a BA in Fine Art Painting from the University of Brighton. Though her techniques developed over time, her subjects and themes tend to center around social issues like class, culture, race, and gender – themes that are also tied to her identity as a young British artist.

“I think that over time my artwork has become a bit more confident and refined via the imagery I use,” she admitted in an interview with Dateagle Art. “Regardless as to whether I’m creating abstract or figurative work, I think I approach each piece with a sense of confidence that steams from the knowing that I’m still learning and growing and if something doesn’t work out that it’s all part of the process towards me making something I’m truly happy with.”

“I think I do sometimes think of that work when I’m feeling moments of self-doubt,” she added, “conscious that interchanging between figurative and abstract may make it hard for people to establish my work as my own, however, I realize that the way I use paint there is a clear signifier that they share the same artist.”

Below you’ll find some highlights from her portfolio:

The post A Nod to Tradition: Michaela Yearwood-Dan’s Paintings appeared first on TettyBetty.

One of their amazing designs was inspired by the famous Dutch painter Piet Mondrian, one of the founders of De Stijl movement best known for his simplistic abstract style. His use of asymmetrical balance and simplified elements were vital in the development of modern art and his iconic works remain powerful in design and pop culture up to this day.

Brani & Desi recreated the abstract paintings of Mondrian as interior designs of apartments and the results are truly amazing.

The post These Apartment’s Interior Designs Looks Like Piet Mondrian’s Iconic Paintings appeared first on TettyBetty.

Based in Los Angeles, Mohamedi’s art translates complex ideas and observations into shapes and colors. “I want to make paintings that feel very true,” she remarked once in an interview with Matter of Hand. “I think I can do that if I don’t control the inception of the idea very much. I’m sort of like a semipermeable membrane; I just look at what’s around me, watch the thoughts that I have, listen to my children, listen to the air. I’m this filter for whatever’s happening around me.”

Her Iranian heritage also plays an important role and is present in the materials themselves. Mohamedi noted that in some cases she uses tubes of Middle Eastern paint imported from Iran. “Up until now I’ve mainly used oil paint,” she added, “but I’m starting to use more materials that are handy like pencils, crayons, and acrylic paint; anything that’s easy to apply and dries quickly.”

The process itself relies on intuition as much as it does on planning. “Everything inspires me,” stresses Mohamedi, talking about her sources of creative inspiration. “I’m a sponge and a filter.” Her work has been profiled in publications such as the LA Times and Huffington Post, on top of a substantial following online.

Below you’ll find some highlights from her Instagram page:

The post Maysha Mohamedi’s Abstract Art is True to Form appeared first on TettyBetty.

Broom’s love of color takes two distinct shapes: landscape painting and abstract art. Both are loosely based on realistic forms, creating a fantastical universe that’s guided by unknown forces. While her landscape paintings portray a lush, if exaggerated, scenery, providing a rose-tinted view of the natural world, her abstract paintings present a kaleidoscopic interpretation of the world around us.

“My landscapes are very densely layered and a built-up through lengthy over-painting and using a lot of different application techniques,” says Broom. “My abstract paintings are made without any tools or brushes so I have less control over the medium and this is quite a freeing way of working.”

But whatever her subject matter, the end result is open for interpretation. “I hope to make paintings that are beautiful but that also offer a narrative that can be interpreted in different ways,” she notes, “whether it’s personal, or more broadly connected to, for example, environmental concerns.”

The post Feast on Orlanda Broom’s Richly Colored Paintings appeared first on TettyBetty.

“Something that started almost as an exercise had become my style, which wasn’t actually intended,” she told Jung Katz. “I started painting this way out of a need to learn the basics of painting so that I could one day work in a looser style,” she explained. “So it became a means to an end so to speak and a challenge to see if I could master the techniques of the old masters.”

According to Reiner, what began as a challenge turned into a rigid form of painting that didn’t reflect her thoughts and feelings. Change was inevitable. “I decided that now everything was fair game, photographic source material, appropriation of imagery, using whichever materials, working from the computer screen and so on,” says Reiner. “So I turned around and did the opposite of what I used to do.”

Her experimentational style challenges the restrictions of realism but does so with a wink and a smile. Reiner herself describes her newfound style as “realism tumbles with cubism.” Her mixed-media approach involves appropriating images from magazines and advertising as a visual reference and conjoining these images with art historical elements in collage-like formations.

Her looser style also leaves room for creative interpretation. “What I  hope for, is for people to create their own narratives,” says Reiner, “that they hopefully look at the work for more than a glance.”

The post Kirstine Reiner’s Paintings Leave Room for Interpretation appeared first on TettyBetty.

Born in South London in 1994, Yearwood-Dan has a BA in Fine Art Painting from the University of Brighton. Though her techniques developed over time, her subjects and themes tend to center around social issues like class, culture, race, and gender – themes that are also tied to her identity as a young British artist.

“I think that over time my artwork has become a bit more confident and refined via the imagery I use,” she admitted in an interview with Dateagle Art. “Regardless as to whether I’m creating abstract or figurative work, I think I approach each piece with a sense of confidence that steams from the knowing that I’m still learning and growing and if something doesn’t work out that it’s all part of the process towards me making something I’m truly happy with.”

“I think I do sometimes think of that work when I’m feeling moments of self-doubt,” she added, “conscious that interchanging between figurative and abstract may make it hard for people to establish my work as my own, however, I realize that the way I use paint there is a clear signifier that they share the same artist.”

Below you’ll find some highlights from her portfolio:

The post A Nod to Tradition: Michaela Yearwood-Dan’s Paintings appeared first on TettyBetty.

One of their amazing designs was inspired by the famous Dutch painter Piet Mondrian, one of the founders of De Stijl movement best known for his simplistic abstract style. His use of asymmetrical balance and simplified elements were vital in the development of modern art and his iconic works remain powerful in design and pop culture up to this day.

Brani & Desi recreated the abstract paintings of Mondrian as interior designs of apartments and the results are truly amazing.

The post These Apartment’s Interior Designs Looks Like Piet Mondrian’s Iconic Paintings appeared first on TettyBetty.