Felipe Bedoya | “Me identifico con un cirujano gráfico porque deconstruyo la forma del personaje”

His work is delicate, a class of invention and creation to give life to the women with valuable artistic techniques. With the portrait of a new interpretation through forms, colors and different styles when combined with digital, it brings an hybridization of formal art.

By Sandra Fernández / Colombia

Art is the clearest way to free certain imaginaries with all the weight of personality. It is the obligatory tool that few people have to survive. As the great painter Pablo Picasso said once, “The purpose of art is the washing of dust of everyday life of our souls.” With the use of hands, the touch makes the imagination comes afloat, from a stroke, to mold a large sculpture, capturing a photographic moment to possess the ability to recreate with a pencil the strokes lines of a new figure. His constant evolution creates new tools in the art. The illustration appears in this new era to provide certain fusion that connects digital with manual.

Arte de Felipe Bedoya, Colombia
Arte de Felipe Bedoya, Colombia

Felipe Bedoya, Colombian artist, makes an hybridization art, a new trace that provide a more polished portrait with captured traces to accentuate the female beauty. He specializes in portraits that are transforming between a visual montage that compromises the real image, the digital intervention and handicraft process where drawing, painting and watercolor is present.

Felipe Bedoya studied graphic design due to the economic pressure and is known as an outstanding illustrator in Colombia. He involved with the illustration as a way to make art, and soon he explored the techniques of painting and drawing to acquire an autonomous concept in his works. “I’m like an hybrid that has emerged from social networks, which, somehow, thanks to the training that I have and some changes I had, I have found another way and I gradually have been refined that way” says the artist.

Kokobi, Felipe Bedoya
Kokobi, Felipe Bedoya

His creations have been part of several publications and magazines of international stature, and he currently have a creative space, Modus, which is a platform to meet various artists and to get involved with the creative world, besides of being one of the director of the meeting for creator called “1000 maneras de no morir.”

In addition, he participated in the last version of La Feria del Million with his latest series consisting of African faces which the painting in his face, a representation of their cultures, masks and traditions of tribes from a photographic construction where he focuses in models contrary features to the black person to explore a new way to forming African female face traits highlight.

What have been your biggest influences from the moment you began your artistic search?

I have had stages. On the side of the illustration I started with pop surrealism, my previous work was inspired by the artist Emma Ryder, the artist Gary Baseman, and all who are part of the underground art somehow. Now I like other kind of artists because I’m changing a lot and I like artists since painting, and photography. Somehow, I touch different techniques and I mixed them. Let’s say that I have referent in all aspects.

Turkana, Felipe Bedoya.
Turkana, Felipe Bedoya.

You make both creations between manual and digital, What is the value given for you to each one?

I like all of them because while I’m making one I’m inspiring in  another one. For me everything has magic and let’s says that photography is fundamental because it connects me with reality and after that connection I deconstruct the body, the form, the genre itself, my own models in some way. When I have those models, I take them to painting, watercolor or the entire manual part depending of the intention I have. It is a process that is feeding back every piece of everything, so I identify with a graphic surgeon because I deconstruct a bit the form of the character and I generate new proportions, I play with that.

How do you initiate with the exploration or creation of characters in your work?

I used to create infant characters that where moving in a libidinous world with a lot of lust and naughtiness. It was something for adults. But now, those women who used to appear in that work have grown up -Obviously it has been for the growth and the maturity I have had- from their interests, their tastes grow, the world is no longer the same as before. I have always portrayed women because as a person I had a construction of life from them, my mother, my girlfriend, all the people who have made something in me were women, that ends feel the totem of my work and the portraits are a way to generate empathy with the other. I’m not very sociable and do portraits because somehow I like to deal with another person, it is the way I can get that peace and face the other with these characters.

Mui, Felipe Bedoya.
Mui, Felipe Bedoya.

Within the Feria del Millón a series of works representing African culture were exposed. How was the process of creation of this series?

I’ve been doing studies that have to do a lot with African painting, how these masks are painted and put by themselves covering their vulnerability or generating an identity of their tribe. All of this really catches my attention. I like the way of how the individual expression changes depending on how is paint. They have a different way of expressing and this is attached a little to expressions, gestures and human personalities that have to do with the self- knowledge that I’m involving with in the work. All are inspired in El Valle de Lomo in Africa and each of them has a name in relation to a river. The characters I exposed in La Feria del Millón are characters that do not exist, they were created from many photos and the models I used were white. My intention was create characters, like us, characters that could move between the real and imaginative that will remain in doubt if they really exists.

What technique do you use in the series of African faces?

They are constructed photographs, the model doesn’t exist but the eyes belong to one of them, the mouth belongs to another, and finally the molding is completed. My intention is to see the finish as photographic, because that is what generates the discomfort of not knowing if that it’s real or not.

© Arte Al Límite

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