Artists Describing Their Art:
Laurie Vaughn - Primarily, my inspiration is derivitive of the New York School art movement genre of abstract expressionism. Additionally, I incorporate expressionist painting influences, derived from the CoBrA art, German Expressionism, in creating my personal brand, of representational, expressionist painting. Taking formal techniques from the CoBrA and New York School art movement, I blend subliminal nuances emanating from sources of inspiration, that are as diverse as Japanese calligraphy to the tribal art, of the Dogon. Utilizing a layering of abstract expressionist painting applications, I reference the oevres of expressionist artists that includes: Jackson Pollock, Lee Krasner, Joan Mitchell, Willem deKooning, Hans Hofmann, Robert Motherwell, and lesser known, abstract expressionism art movement painters. Representational techniques have been strongly influenced by the bold, vibrant, and colorful expressionist painting genre of significant CoBrA art movement icons, including: Cornielle, Karel Appel, Rooskens, Eugene Brands, Lucebert and Asger Jorn.I prefer to work in mixed media, incorporating gesso, tempera, acrylic, enamel and oil on canvas. My goal is to create individual series, dominated by influences from a combination of artists, overlaid with my personal interpretation or social commentary on events that effect us all....
Vladimir Simanovsky - The artistic world of Vladimir Simanovsky is motivated by live but predominantly by music. From his earliest childhood, when he intensely devoted himself to drowing and playing the piano, a tone of colourful vibrations of inner creative imagination has woken up in him. After having finished Secondary Artistic-Industrial School, which provided its graduates with the ABS of creave artistc resources, he carried on with studies at the Faculty of Architecture of the Technical University in Bratislava, which raised his rational human thinking. The creative career of Vladimir Simanovsky has been extended by a new dimention, a dimention of space. In the late of 80s he moved to Canada, where he intensily attended to artistic creation. In 1996 he come back to Slovakia,Bratislava. By rational but also subconscious comparing of the human criterion with architectural, constructive with spiritual, real with irreal, he has appealed to painter`s means of expression with a feeling that through them he can most brilliantly express his visual, rational and subconscious statuses he has systematically saved in his live. Linear compositions are,by turbit painting area`s shaped into fine blocks underlined by gentle scale of warm colour tones,sharpen tention among particular colour...
Marty Kalb - Artists important to me Rembrandt,Cezanne and Matisse,because their work got better with age. Klee, because he makes me realize that simple ideas are the most complex and the most rewarding. Kandinsky, because his work was the first to teach me about the levels of meaning in abstraction. Twachtman,because his landscapes are about how to feel about place and process. Church, because his majestic vision is his own creation. Monet, because I see his hand and eye take risks. Hofmann because he controls the mind and frees the spirit. Heartfield and Goya because they do not look away. There are others, but as Hillel said "the rest is commentary" Subjects I return to. Color filled landscape abstractions. Realistic images of local streams, And waterfalls in other places. The Holocaust as the ultimate moral challenge Each is important My paintings explore realistically and abstractly an interest in landscape from my immediate surroundings, distant places of particular natural beauty, seascapes and undersea forms inspired by many visits to the Caribbean and a long standing interest in Asian art. Most of the paintings of realistic waterfalls are of places in Vermont, New York State and Ohio. The abstract waterfalls are inventions, ...
Marty Kalb -
Nebojsa Jovanovic - I want my paintings to give people moments of pleasure, reflection and memories. Every artist approaches their work in a different way. I like to think that my creations are born from a process of creating music that can be seen. I start with an empty and silent stage of white canvas. Then, I gradually introduce and bring to the stage my brushes using them as musical instruments that produce the colors, texture, rhythm and harmony. The process is finished when I hear visual harmony coming from my painting. With a background in still life and landscape painting, I have discovered that I feel true artistic freedom when creating non-objective abstract painting. Now I enjoy the playful dancing back and forth across the boundary lines between representational forms and abstract. My work today can best be described as contemporary abstract that is loosely based on landscape. I am interested in treatment of textural surfaces combined with glazing techniques that brings vibrant colors to my work....
Michelle Daly - I am interested in capturing moments often felt more strongly then seen. This idea has taken many forms in painting, drawing, making, and living. Paintings here include a series of works that strive to articulate a tenuous balance between process and finished artwork. I approach each painting as a dialogue with no preconceived intention. I use a combination of found and invented shapes that reference both geometry and the natural world. I build the compositions in layers, reworking the surface, adding and deleting information. This process continues until I find the moment when the work is resolved, but just barely. I am searching for the place with each painting when the process is still evident, yet there are moments that are unconventionally beautiful. This idea has lead me to begin a series of smaller works that seek to explore the more narrative quality of abstract painting. I view each work as a fragment or short story, building together into something that is perhaps more. I am also exploring ideas of noticing space in a series of drawings known as "the space between" These drawings take negative space as their subject matter, and look for deeper interest in the way such ...
Bernhard Luettmer - The project is to create the image with a short composition as I wanted at times I took in here. Timing and movements of the camera or the machinery are important resources. Photography is listen to the world as we hear a beloved piece of music. For example: I see a tree just in vegetation, the wind gentle caresses the new leaves, the light shines and you hear all this on the skin. Now take a picture with the knowledge that this concentration and on the negative is something of the feeling....
Ivan Kosta - My mission? To give some resemblance of our lives, to touch our fears,concerns, evoke dreams and give hope in time of dispair... ...
Einav Zilber - As an art lover, I want to see art not only in the museum or gallery but rather see art in my daily surroundings of where I live. Be it the hair dresser, a book shop, a cafe or the local launderette. I think there's something exciting about being able to see art everywhere, stop for a moment (or more) from the days' work and hectic life we live, to look and explore new realms of creation and give me another look and maybe even a glimpse to the creativity and life of others. This idea had been on my mind for a while, bit by bit I could see it come to life in Tel Aviv, where I live, not just the events the municipality make, but rather small initiatives. As a photographer it gives me a lot of space to enjoy and create. I call it Art Around. ...
Ken Hillberry - In art and in life, dynamics of balance, integrity and tolerant interaction of all elements or participants ought to be see, experienced and maintained. At the same time, the challenge of affecting this balance is creatively encountering all changes and adapt accordingly. For some, the destination or pre-determined outcomes are sought more often than not. Then there are some who savor the journey, thus witnessing and enjoying developments along the way. I fall into the latter category. It's like watching the film develop in a darkroom. the image takes form a little at a time right before my eyes. The creative process, for me, is void of pressure and timeless. The ability and practice and discipline are central in my approach. My creative intent is to engage a viewer in thought and emotion, as well as, with their eyes. Using imagination, retrospect or model, my range of composition can be conceptual, perhaps impressionistic or abstract in application, but always developed to evoke an awareness and appreciation for the relative conditions in life experience and art form as I incisively or playfully interpret my experiences along the way. ...
Audri Phillips - The paintings are done slowly, thought and dreamed about until the images seem correct to me. I apply layers of thin glazes and pay attention to the way thin paint runs and drips. This combination of chance and control hopefully leads to a better painting than I alone am capable of painting....