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.

Woven inside her work are themes like folk arts, tropical flora, and patterns, both traditional and commercial. Painted using warm hues and bright color pellets, the end result can be seen as a celebration of cultural identity.

But if her paintings are to be seen as a cultural celebration of sorts, this celebration is cut short, contrasted with images of conquest, graffiti tags, and marks that interrupt the colorful patchwork. Colors infused with Latin flavor are diluted by a ubiquitous white. Organic, blooming forms are contrasted by flat or rigid fields.

Born in Hollywood, CA, Latimer completed her BFA at Slippery Rock University and went on to receive an MA and MFA from the Indiana University of Pennsylvania. She has since showcased her work both in solo and group exhibitions. You’d want to take note:

The post These Paintings Are a Cultural Celebration Cut Short appeared first on TettyBetty.

According to Patterson, such details are meant to reflect the “psychological resonance” of her subjects, delving deeper into the human condition. “I believe that most of my ideas come through me, not from me,” she explained on her website. “Sometimes, ideas simply pop into my head seemingly from nowhere. Other times, some political or social situations will appear in my conversations, in the news, in a movie or in many other ways — repeatedly, beckoning me to paint them.”

Through her work, she aims to give voice to difficult social and political subjects in an attempt to encourage thought, emotion, and dialogue. “Once I realized the tremendous power that images can have to make people comfortable or uncomfortable, happy or sad, settled or unsettled, I knew I had a voice,” she writes.

“I decided to use my voice to encourage people to see, think and feel – something not always valued in our culture. Awareness replaces ignorance and opens up the possibility of change. If you can’t ignore it, then you may feel compelled to change it.” Her imagery is compelling, if nothing else.

The post Valerie Patterson Puts Raw Emotion on Display appeared first on TettyBetty.

Most often than not, his paintings center around the urban landscapes of Boston, Massachusetts: the seaside of his youth, the bridges, and the local, aging trolley cars that rumble behind his house. When painting, Sutter relies on source photos that either he or his clients have taken, sometimes combining aspects of multiple photos to create a richer scene.

“I’ll be drawn to a set of colors or an interesting shape or to a scene I’d like to capture, but one that’s a bit off the bell curve for other artists,” he notes. His observations haven’t gone unnoticed, having gained memberships in the prestigious Copley Society of Art in Boston and the North Shore Arts Association in Gloucester, Massachusetts.

But incredibly enough, Sutter began painting seriously only in his mid 50’s, having not picked up a paintbrush in decades and never shown any of his work before. You’d want to follow his creative journey via Instagram.

The post The Rich, Urban Landscapes of Jed Sutter appeared first on TettyBetty.

“I really like the way it behaves like a living thing,” she wrote on her website, explaining how the paint floats and blooms as if it has a mind of its own. “It constantly surprises me,” she admits. With each piece, Watts pushes her boundaries, exploring further the different ways in which watercolor behaves.

“Watercolor is different than any other art medium,” she explains. “It’s about letting go. It’s about trusting in yourself to go where the water takes you.” According to Watts, immersing yourself in the loose colors on the page feels like finding the holy grail.

Much like her artwork, Watts’ inspiration is rich and varied. “It could be a beautiful light and dark pattern that catches my eye, a strong color contrast that excites me, or a grey foggy landscape that reflects my mood,” she explains. “It could be an expression on a stranger’s face or inspiration from a dream.”

Whatever her recipe is, it seems to be working.

The post The Watercolor Impressions of Yevgenia Watts appeared first on TettyBetty.

Known for her satirical commentary on the hybridization of South Asian and Canadian culture, her art tackles subjects like racism, body shaming, classism, and chauvinism. These subjects are treated with a grain of salt, or perhaps, a dash of spice, through clever utilization of pop art aesthetic.

“Hot chai, cold revenge,” reads one caption alongside a comics-inspired character, “spicy food is for spicy girls,” reads another. “Pop art is very fun in nature, but [my work] does talk about a lot of heavy things,” Qamar touched on the ironic nature of her work in an interview with Vice.

“The focus is on my community,” she further explained. “I’m not talking to a white audience. I’m talking to people like me, so we can talk about these issues in our community. When you do that and when enough people around you start doing that, you find that everyone else around you starts listening in. It puts the pressure on other folks to learn more about us, which is an added bonus, but the point of the work isn’t to appeal to anybody outside of who I’m speaking to.”

But with tens of thousands of fans on Instagram alone, it’s clear that her art resonates with many people.

The post Maria Qamar’s Art Should Be Taken With a Grain of Spice appeared first on TettyBetty.

After a lifetime of experimenting in different styles and mediums, it wasn’t until Hanson began rock climbing at Red Rock Canyon that her painting style was consolidated by a single inspiration and force of nature. Rock climbing among the cliffs of Nevada and Utah, while watching the seasons, and the light change daily across the desert, provided endless inspiration for her work.

These beautiful surroundings were also the backdrop for her decision to commit herself completely to her art, by painting, and then painting some more. Transforming landscapes into abstract mosaics of color and texture, her impasto application of paint lends a sculptural effect to her art.

“I think the modern or contemporary art world shies away from landscapes or natural beauty,” she told Art Aesthetics Magazine. “I don’t really understand why since it is one of the most pleasing art forms to the eye and certainly one of the most popular.

Scrolling through her Instagram page, you can definitely understand the appeal of landscape paintings.

The post These Landscape Paintings are Part Impressionist, Part Expressionist appeared first on TettyBetty.

As such, her artworks portray buildings and interiors that seemingly defy gravity – a world in which the ceiling is actually the floor and vice versa. “I want the viewers to recognize what they are seeing, but to see it in a very different, unstructured, broken way,” relayed Vidal Agulló in an interview with Hi-Fructose Magazine.

“With these un-gravity constructions, I want to show that we live in one world, but we live in it in very different ways,” she went on to explain. “Playing with everyday objects and spaces, placed in impossible ways to express that many times, the inner dimension of each one of us does not match the mental structures of those around us.”

These everyday objects and interiors are drawn in a realistic fashion, so as to make them recognizable. In this, supposedly realistic space, the viewer can recognize the paradoxes that prevail are day to day existence. “The architectural spaces and day-to-day objects are part of a metaphor of how difficult it is to fit everything that shapes our daily space: our relationships, work, ambitions, and dreams,” she adds.

Peek inside.

The post Cinta Vidal Agulló’s Artwork is Seemingly Realistic – Until You Step Inside appeared first on TettyBetty.

In one series, Carter paints using cranberry juice – a reference to her origins, which include growing up on a cranberry farm in New England. The fluid is juxtaposed with collage elements; using solvents and other transfer methods she directly appropriates reference images from her archive.

“Narrative and narrative imagery has always appealed to me,” she told Girl Trip. “I think it’s necessary to investigate the stories we grew up with, and other stories that have been told throughout history, and how those have shaped us – not just how they morally shaped us, but how they conjure certain images in our brain. Most of these stories I’ve come upon through narrative resources of literature and film, but also very clearly from the research and image-mining that I conduct while traveling.”

Her work (which also includes print media, collage, and performance), often leans on her personal background, but also draws from literature, mythology, dance, and costume. The personal memory is interconnected with the collective memory, and Carter explores through her work themes of gender, fairytale, and masquerade.

“My work involves my identity directly, especially since I often use my own body as a model,” she says. “A lot of artists don’t call themselves feminists or don’t want to be classified as ‘women artists’ and I get that; we should be considered across the whole broad sphere of art discourse, not just as a representation of our gender. Men don’t face that same prescription. However, because we ARE less represented in the art world (in terms of who is being shown at galleries and museums, who is selling, etc), I think shouting out that identity, as a female artist, serves the call for more female representation in the art world.”

Take a look at some of her work in the gallery below:

The post The Stained Art of Alexandra Carter appeared first on TettyBetty.

The way he sees its, art is first and foremost a way of life. “My mom took me to a Pop art exhibition at the Milwaukee Museum of Art when I was about 8 years old,” he recalled. “I found it all so ridiculous and fun, and I remember thinking ‘These guys get to spend their time making all these weird things and people appreciate them for it. I have weird ideas all the time. I want to do that!’”

He realized his dream years later, having received an MFA from the Maryland Institute College of Art (MICA) in 2012, and a BFA from the University of Minnesota in 2008. Now, his paintings are exhibited throughout the US and have been featured in publications in both the US and the UK.

A messy hybrid of colors, shapes, and textures – his paintings might just get your creative juices flowing.

The post Jon Duff Turns His Weird Ideas Into 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.

Woven inside her work are themes like folk arts, tropical flora, and patterns, both traditional and commercial. Painted using warm hues and bright color pellets, the end result can be seen as a celebration of cultural identity.

But if her paintings are to be seen as a cultural celebration of sorts, this celebration is cut short, contrasted with images of conquest, graffiti tags, and marks that interrupt the colorful patchwork. Colors infused with Latin flavor are diluted by a ubiquitous white. Organic, blooming forms are contrasted by flat or rigid fields.

Born in Hollywood, CA, Latimer completed her BFA at Slippery Rock University and went on to receive an MA and MFA from the Indiana University of Pennsylvania. She has since showcased her work both in solo and group exhibitions. You’d want to take note:

The post These Paintings Are a Cultural Celebration Cut Short appeared first on TettyBetty.

According to Patterson, such details are meant to reflect the “psychological resonance” of her subjects, delving deeper into the human condition. “I believe that most of my ideas come through me, not from me,” she explained on her website. “Sometimes, ideas simply pop into my head seemingly from nowhere. Other times, some political or social situations will appear in my conversations, in the news, in a movie or in many other ways — repeatedly, beckoning me to paint them.”

Through her work, she aims to give voice to difficult social and political subjects in an attempt to encourage thought, emotion, and dialogue. “Once I realized the tremendous power that images can have to make people comfortable or uncomfortable, happy or sad, settled or unsettled, I knew I had a voice,” she writes.

“I decided to use my voice to encourage people to see, think and feel – something not always valued in our culture. Awareness replaces ignorance and opens up the possibility of change. If you can’t ignore it, then you may feel compelled to change it.” Her imagery is compelling, if nothing else.

The post Valerie Patterson Puts Raw Emotion on Display appeared first on TettyBetty.

Most often than not, his paintings center around the urban landscapes of Boston, Massachusetts: the seaside of his youth, the bridges, and the local, aging trolley cars that rumble behind his house. When painting, Sutter relies on source photos that either he or his clients have taken, sometimes combining aspects of multiple photos to create a richer scene.

“I’ll be drawn to a set of colors or an interesting shape or to a scene I’d like to capture, but one that’s a bit off the bell curve for other artists,” he notes. His observations haven’t gone unnoticed, having gained memberships in the prestigious Copley Society of Art in Boston and the North Shore Arts Association in Gloucester, Massachusetts.

But incredibly enough, Sutter began painting seriously only in his mid 50’s, having not picked up a paintbrush in decades and never shown any of his work before. You’d want to follow his creative journey via Instagram.

The post The Rich, Urban Landscapes of Jed Sutter appeared first on TettyBetty.

“I really like the way it behaves like a living thing,” she wrote on her website, explaining how the paint floats and blooms as if it has a mind of its own. “It constantly surprises me,” she admits. With each piece, Watts pushes her boundaries, exploring further the different ways in which watercolor behaves.

“Watercolor is different than any other art medium,” she explains. “It’s about letting go. It’s about trusting in yourself to go where the water takes you.” According to Watts, immersing yourself in the loose colors on the page feels like finding the holy grail.

Much like her artwork, Watts’ inspiration is rich and varied. “It could be a beautiful light and dark pattern that catches my eye, a strong color contrast that excites me, or a grey foggy landscape that reflects my mood,” she explains. “It could be an expression on a stranger’s face or inspiration from a dream.”

Whatever her recipe is, it seems to be working.

The post The Watercolor Impressions of Yevgenia Watts appeared first on TettyBetty.

Known for her satirical commentary on the hybridization of South Asian and Canadian culture, her art tackles subjects like racism, body shaming, classism, and chauvinism. These subjects are treated with a grain of salt, or perhaps, a dash of spice, through clever utilization of pop art aesthetic.

“Hot chai, cold revenge,” reads one caption alongside a comics-inspired character, “spicy food is for spicy girls,” reads another. “Pop art is very fun in nature, but [my work] does talk about a lot of heavy things,” Qamar touched on the ironic nature of her work in an interview with Vice.

“The focus is on my community,” she further explained. “I’m not talking to a white audience. I’m talking to people like me, so we can talk about these issues in our community. When you do that and when enough people around you start doing that, you find that everyone else around you starts listening in. It puts the pressure on other folks to learn more about us, which is an added bonus, but the point of the work isn’t to appeal to anybody outside of who I’m speaking to.”

But with tens of thousands of fans on Instagram alone, it’s clear that her art resonates with many people.

The post Maria Qamar’s Art Should Be Taken With a Grain of Spice appeared first on TettyBetty.

After a lifetime of experimenting in different styles and mediums, it wasn’t until Hanson began rock climbing at Red Rock Canyon that her painting style was consolidated by a single inspiration and force of nature. Rock climbing among the cliffs of Nevada and Utah, while watching the seasons, and the light change daily across the desert, provided endless inspiration for her work.

These beautiful surroundings were also the backdrop for her decision to commit herself completely to her art, by painting, and then painting some more. Transforming landscapes into abstract mosaics of color and texture, her impasto application of paint lends a sculptural effect to her art.

“I think the modern or contemporary art world shies away from landscapes or natural beauty,” she told Art Aesthetics Magazine. “I don’t really understand why since it is one of the most pleasing art forms to the eye and certainly one of the most popular.

Scrolling through her Instagram page, you can definitely understand the appeal of landscape paintings.

The post These Landscape Paintings are Part Impressionist, Part Expressionist appeared first on TettyBetty.

As such, her artworks portray buildings and interiors that seemingly defy gravity – a world in which the ceiling is actually the floor and vice versa. “I want the viewers to recognize what they are seeing, but to see it in a very different, unstructured, broken way,” relayed Vidal Agulló in an interview with Hi-Fructose Magazine.

“With these un-gravity constructions, I want to show that we live in one world, but we live in it in very different ways,” she went on to explain. “Playing with everyday objects and spaces, placed in impossible ways to express that many times, the inner dimension of each one of us does not match the mental structures of those around us.”

These everyday objects and interiors are drawn in a realistic fashion, so as to make them recognizable. In this, supposedly realistic space, the viewer can recognize the paradoxes that prevail are day to day existence. “The architectural spaces and day-to-day objects are part of a metaphor of how difficult it is to fit everything that shapes our daily space: our relationships, work, ambitions, and dreams,” she adds.

Peek inside.

The post Cinta Vidal Agulló’s Artwork is Seemingly Realistic – Until You Step Inside appeared first on TettyBetty.

In one series, Carter paints using cranberry juice – a reference to her origins, which include growing up on a cranberry farm in New England. The fluid is juxtaposed with collage elements; using solvents and other transfer methods she directly appropriates reference images from her archive.

“Narrative and narrative imagery has always appealed to me,” she told Girl Trip. “I think it’s necessary to investigate the stories we grew up with, and other stories that have been told throughout history, and how those have shaped us – not just how they morally shaped us, but how they conjure certain images in our brain. Most of these stories I’ve come upon through narrative resources of literature and film, but also very clearly from the research and image-mining that I conduct while traveling.”

Her work (which also includes print media, collage, and performance), often leans on her personal background, but also draws from literature, mythology, dance, and costume. The personal memory is interconnected with the collective memory, and Carter explores through her work themes of gender, fairytale, and masquerade.

“My work involves my identity directly, especially since I often use my own body as a model,” she says. “A lot of artists don’t call themselves feminists or don’t want to be classified as ‘women artists’ and I get that; we should be considered across the whole broad sphere of art discourse, not just as a representation of our gender. Men don’t face that same prescription. However, because we ARE less represented in the art world (in terms of who is being shown at galleries and museums, who is selling, etc), I think shouting out that identity, as a female artist, serves the call for more female representation in the art world.”

Take a look at some of her work in the gallery below:

The post The Stained Art of Alexandra Carter appeared first on TettyBetty.

The way he sees its, art is first and foremost a way of life. “My mom took me to a Pop art exhibition at the Milwaukee Museum of Art when I was about 8 years old,” he recalled. “I found it all so ridiculous and fun, and I remember thinking ‘These guys get to spend their time making all these weird things and people appreciate them for it. I have weird ideas all the time. I want to do that!’”

He realized his dream years later, having received an MFA from the Maryland Institute College of Art (MICA) in 2012, and a BFA from the University of Minnesota in 2008. Now, his paintings are exhibited throughout the US and have been featured in publications in both the US and the UK.

A messy hybrid of colors, shapes, and textures – his paintings might just get your creative juices flowing.

The post Jon Duff Turns His Weird Ideas Into Paintings appeared first on TettyBetty.