Artists Describing Their Art:
Themis Koutras - MY JOB IN GOD THE TRINITY JEHOVAH CREATOR OF LIFE IS TO CREATE THINGS AS A ARTIST AND PLACE SCRIPTURE ON THEM TO RELATE IT TO THAT ITEM MY IDEA IS TO REACH OUT TO THE WORLD IN EVANGELIST REASONS TO GIVE OUT SOMETHING WITH A MESSAGE ON IT THAT RELATES TO THE WORK DONE AND FROM THE GOSPEL ALTHOUGH I MIGHT MAKE THINGS WITHOUT SCRIPTURE LIKE TOYS FOR CHILDREN TO HAVE FUN IN LIFE I WOULD THEN PRAY THAT GOD WILL TAKE A HOLD OF WHAT I DO AND LEAD ALL PEOPLE TO HIS SON HOLY THAT THEY BE SAVED SO ON FOR I RECON WE ALL NEED JESUS CHRIST...
Harry Weisburd - Harry Weisburd is an Internationally Represented Artist, including, USA, Expressions Gallery, Berkeley, California,
Geo Sipp - Geo Sipp Artist Statement: The primary emphasis of my images is to reflect our experiences as consumers of the media in the aftermath of September Eleventh. As we go about our lives the media constantly reminds us of our exposure and vulnerability. The visual perception that is promoted is of our being continuous observers of the human condition. A sense of being under threat heightens our awareness and is implicit in our roles as parents, friends and guardians. The media trivializes threats by distilling them into short, dramatic events. Meaning and emotion become codified. I create images as responses to social and political situations, but no attempt is made to editorialize the content. The work is intended to reevaluate the visual narrative to which we've become conditioned. A variety of media is used to create my work. The decision to create a drawing or a painting or a print is primarily intuitive. Yet, because they are multiples, prints reference the mass marketing of published imagery in a news cycle. The Algeria Series references the Iraq War and Middle East instability. The fact that the images are multiples printed from several plates alludes to the tradition of photojournalism and role...
Youri Messen-Jaschin - Award 1963 1st Prize of contemporary engraving Center of Engraving Geneva MusA(c)e daEURtmart et daEURtmHistoire Geneva 1966 Grant of the Swedish state for study at the University of Gothenburg research in the textil in Op art 1969 USA Gould corporation 1st prize for the realization of a Op art sculpture 1970 2 nd prize for a textile work - electro-acoustic, University of Gothenburg 1971 1 st prize for a textile work - electro-acoustic, RAPhsska Museum Gothenburg 1985 Italiy Centro Studi e Ricerche delle Nazioni World Culture Award Statue of Victory 1985 1985 Centro Studi e Ricerche laEURtmAccademia daEURtmEuropa Diploma of Appointment of Academician of Europe for its cultural and professional activity 1986 Diploma European SchowmenaEURtms Union For his sincere efforts on behalf of the European ShowmenaEURtms Union we hereby extend our special appreciation to. Bruxelles IV73 1987 Diploma of nomination Golden Elephant for the merits that he acquired to the cause of the circus Schweizer National Circus GebrA1/4der Knie Rapperswil 1998 Installation Award Certificate of Merit Research in Op art Angel Orensanz Foundation, Center for the arts, New York 2000 Aim for Arts, International juried exhibition, celebrating artistic achievement Federation of ...
William Dick - STATEMENT My paintings record my interest in reconciling different and often estranged qualities and ideas in painting. I work through an experimental evaluation of the co-influence or confluence of organic and geometric, texture and structure, density and transparency, the sensuous history of paint and the austere tradition of minimalism. Within the context of abstraction, namely geometric and organic, I begin with the fundamental balance in painting between line and colour. I have drawn on ancient symbolic shapes from my Scottish background and I am influenced by the symbolic power of simplest forms of drawn lines such as the circles, concentric circles and spirals of Pictish and Celtic Art. Linear elements in my work derive from this source as well as from African and Aboriginal Art, Abyssinian Warrior Shields and Russian icons, and other lines and shapes that retain, in the broadest sense, some significance within culture. For colour I begin from observation of geological form and the substance of land of dust, sand, mud and rock as well as the outcrop of local street furniture architecture weather and the effects of weathering, and then of the often extreme and exotic colour of lichen, peat and mosses. My work exploits ...
Philip Hallawell - I work in various media: oil, watercolor, dry pastels, pen and ink and mixed media. My work is a result of a fragmented view of the world, which gives it a surreal quality. However, my process is not surreal, because I start with a definite theme that I wish to investigate. My main area of interest is people and the human form and I am constantly investigating the physical, intellectual, emotional and spiritual aspects of Man. Over the years I have developed various series, which I revisit periodocally, investigating different aspects. In purely visual terms, what fascinates me is light and form and how I can use diverse visual elements in a complementary way, opposing, for instance, line and form, or rough and smooth textures. The use of diferent materials to achieve diverse expressions, either alone or as mixed media, along with alternating between a graphic representation and a painterly one, or mixing the two, is a very important aspect of the way I materialize my thinking into images. Equally important is the transition from very realistic images to a totally abstract means of expression and alternating between control and expressiveness....
Phillip Flockhart - STATEMENT After 50 years of image making, journeying through the Da Da, Constructivist, and Minimalist Schools 1970s-1980s I find that my work and my beliefs put me firmly in The School of Expressionism, although my continued belief in the work of Carl Jung, especially his Catalytic Exteriorisation Phenomenon adds another layer of understanding to the traditional Expressionists and places it somewhere more in the Spiritual. My art philosophy formulated over many years practice is actually always present in the content of my work, although themes come and go and reflect other areas of my life and which are influenced by the work of great artists like Kazimir Malevich, Vladimir Tatlin, Juan Gris, Kurt Switters , Marc Chagall, Robert Motherwell, Robert Rauschenberg, Andy Warhol and Joseph Beuys the themes of my art, if examined retain the content of my work which has remained as it has for 35 years now the attempt to disseminate the picture plane to see through and beyond, with colour, real time space, Collage Relief, imagery or optical device, multi point perspective and opto-kinetism, to reveal the truth that lays beyond .... I believe that this is what Marc Rothko meant when he said that his paintings ...
Douglas A. Kinsey - When looking at my work the viewer should consider them as configurations of spiritual geography. In this manner I refer them as "Interior/Exterior Landscapes". The primary blue shape will refer to geological forms found in geographical landscape. As such they mark unspoken borders much like a rock cairn would. This marking indicates a place of spiritual solace and point of reflection. My intention is to explore the subconscious symbols of an'interior' spiritual reality when consecrated by the borders of'external' physical reality. ...
Steve Miller - I have drawn and painted ever since I can remember. Pencil was always my favorite. I spent many hours as a child with a pencil and a piece of typing paper. In my late teens, I began to airbrush images on vans, motorcycle tanks, and T-Shirts. Later, I began creating illustrations for publications, and then on to creating graphics and animation on the computer for various companies/clients. Making a living seems to consume most of my time, but when things get slow or I find I have some extra time on my hands, the canvas seems to have an irresistible pull. One day a friend of mine, mentioned that he was going out and painting small plein air paintings. I told him I'd like to go along sometime. We set a time in the late spring a few years back and I borrowed an easel and we hit the Texas countryside. We painted 3 small paintings throughout the day and I loved it. It was such a relief to get away from the computer screen and play with color. Now I take my easel with me when ever I travel and paint every chance I get. Since ...