you won’t go far at that pace.
from something, not to something
animated edition from the summer edition series.
I think you need to move those legs a bit faster, or else you’ll never get away.
For myself, speed was everything. The first to reach a milestone in the family, speed-running a classic videogame — increasing production in my creative process.
“from my point of view, you’re quite something”
— something like a bird, chasing the breeze to,
not be late for the scheduled programming. certainly not
to escape the glass. you’re quite something —
something to abstain from.
- poem pulled from the artwork description by bhare.
“Why place an animation into this edition series?”
I don’t have any reason not to, quite simply.
For as long as I can recollect back, I’ve always been enamored by animation. Without fully realizing, it became my introduction into art. Worlds built on this style breathe life akin to the real world, with some leaving lots to the imagination.
Although my speciality is traditional art and digital art, I usually lend my talents to still paintings rather than animation. The most recent artwork of mine that features a bit of moving parts, dates back to 2023.
It was clunky, in an attempt to mimic a bit of the style of stop motion. Parts of the painting were isolated and shifted clockwise in a set of 3-4 frames. At the time, it was a major step for me. A lot of what I know in art is self taught, so even something that simple brought immense joy at the time. It wasn’t a strong artwork but nonetheless, I’m proud that I did it. Even after 2 years of not considering the idea of an animated artwork, the bit of skills I gained from it came back like muscle memory.
Now back to the original question — As I grow in my career, I find it essential to curate my own artworks. Powerful 1/1s build and supports the legacy, while even more compelling editions spreads the legacy to the masses. I think both should be held in high regard and given my all during the creative process. Given how integral digital art is to my practice, experimenting with animation and video, felt as natural as putting one foot in front of the other.
It’s some of my best and that what I am to give as much as I can.
“Inspiration can strike anywhere. It’s up to me to defend those new ideas.”
Oddly enough, despite the endless source material that I can easily find on the twitter alone, what really peaked my interest was a tv show. A cartoon to be exact. Let me paint you a quick picture.
A blue cat and an orange goldfish, have interesting and off beat adventures in their small town, with the occasional fourth wall break. There are quirky characters around every corner, making everyday in their world a DC Crisis level of event. Every-time I need step out of the house for a bit, I leave this tv show on for my small dog. I assume she’s less bored with it on, but I know she chooses sits by the window people watching most times. It’s a comfort show, something I know I can leave on the background and tune in whenever I feel like and not miss a beat.
It’s called the Amazing World of Gumball.
Towards the tail end of the final season, their world constantly glitched out to the point were they ended up interacting with the audience watching them from behind the glass. If one of my favorite comfort shows could implement this aspect of glitch, thematically into the story, then it was possible for me.
Here, glitch is used to reset the character. They run, pushing their legs to their limits, only to hit a metaphorical roadblock. Facial expressions are in distress as the character shifts and changes endlessly with their surroundings. The running aspect, was drawn up from the idea of using a treadmill. Recently, I frequent the gym. As a painter, I need exercise and movement to stay healthy. It’s been a goal of mine to complete a least a mile incline run, every-time I go. The character runs in place, akin to my movement on a squeaky treadmill. He trips, stumbles and eventually catches himself as the animation progresses. All to present a question back to the viewer.
What is he running away from?
If I had to answer today, I would say __________.
“How does edition expand on the current series offerings?”
(still frame captured from the animation)
It’s an appreciation for experimentation, influenced by my current place in a growing art world. In the landscape that I frequently navigate, animation and glitch has become a mainstay in the digital art market.
Glitch art is an art movement centering around the practice of using digital or analog errors, more so glitches, for aesthetic purposes by either corrupting digital data or physically manipulating electronic devices. Whereas Animation is a filmmaking technique whereby still images are manipulated to create moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film.
One great example of the merging of these techniques is artist ACK’s 2025, pink elephant on parade. (the original mint took place in 2021, with an updated metadata in 2025)
I was already halfway there, creating multiple instances of a singular painting on a digital canvas. There was only thing missing — effort. The time and patience to place these frames together in a way that not only tells a story, but supports it, keeping strong from start to finish. It’s my first realistic love letter to animation with humble techniques that can easily take years to master.
“Run when you can, walk if you have to, crawl if you must, just never give up.”
About the Artist
Shareon “Bhare” Blenman is a multidisciplinary artist based in Charlotte, North Carolina. Born in 1998 to Barbadian immigrant parents, Bhare initially pursued a career as a chef before transitioning into the art world. His diverse practice encompasses traditional canvas work, digital oil paintings, sculptures, and even ventures into skateboarding design.
Bhare earned his undergraduate degree from Johnson & Wales University, balancing various creative jobs during the early stages of the global lockdown. By the age of 23, his work had already been showcased in traditional and digital galleries across North America and Europe. He has exhibited in more than three professional galleries and sold over 30 pieces in his debut year.
Now at 26, Bhare has been featured extensively in a magazine, completed a 40-foot commission for the Spectrum Center, and even had his work sold through Sotheby’s.
Bhare currently lives and works in Charlotte, North Carolina. He merges his work through both traditional and digital styles, exhibiting with prestigious galleries in New York, Pennsylvania, Los Angeles, Copenhagen and most recently Toronto.