Artists Describing Their Art:
Theo Radic - Everyone experiences drawing and painting as children. I was perhaps one year old therefore when I was first initiated into the painter's craft. I continued these universal beginnings throughout my school years and sporadic courses in college (which gave me few insights into this art). [...] I had only myself as a teacher in the art of painting. My evolution as a painter paralleled that of art history in general, beginning with my prehistoric period as a one-year-old-clutcher-of-crayolas, groping through Egyptian and Greek periods; a Renaissance period; and then neo-classicism, romanticism and naturalism; impressionism and fauvism; cubism and abstract expressionism. At nineteen I went to Europe, thirsty for scope and depth in Art which America lacks. Having established myself in the south of France, I absorbed the emanations of the modern masters who had lived and painted there. I was profoundly moved by the bizarre snow storm over La Cote d'Azur on the night of Picasso's death. No such storm had ever been seen before in April, as old-timers in Nice told me. [...] Fully acknowledging my debt to 'abstract expressionism', I nonetheless do not consider my art'abstract' - a word ...
Steven Fleit - I am a self taught artist. I have been painting for over twenty years and approximately four years ago I declared myself an Artist in the professional sense. Prior to my declaration as an artist, I built a portfolio of thematic collections. I started with Caribbean tropical paintings. I have expanded my subject matter to, Vineyard, architectural reflection, and travel sight e.g. Venice Series paintings. When I felt that I had put together a substative portfolio, I identified as an artist. I am serious about my craft and I hope you enjoy viewing my work. Thank you....
Otto Rapp - BOGOMIL'S UNIVERSE - the Inner Universe of Otto Rapp Bogomil's Universe is an excursion into the realms of the Inner Universe - a parallel universe that exists in the mind, and glimpses thereof are presented here. I am increasingly reluctant to speak of my work as strictly and exclusively surrealistic. While Surrealism provided the initial spark, and some of the methods of Surrealism are employed, I do not suppress the influence of the rational and selective focus. Thus, particularly in later works, there is to be found a conscious juxtaposition of the complementary forces of inspiration and reason. I do not concern myself with the elimination of the rational, the exclusivity of the irrational and the absurd, but presentation of the conscious and subconscious world as an inseparable whole. I draw my inspirations from the layered labyrinth underground which represents the other side of life, which is an inner imaginative-inspirational counterpart to the outer world, expressed with the help of logic-alogic associations, analogisations and symbolism. The paintings in the cyclus Bogomil's Universe are derived by creating textural surfaces, the method of Decalcomania as pioneered by the Surrealists, letting color, consistency and flow of the paint determine initial ...
Martha Hayden - My painting is both realistic and abstract, it is on that elusive edge between there and not there. On first look everything is in place, then all dissolves. I want realism and abstraction to take turns. I want a painting sometimes very evocative of time and place, sometimes overwhelming in abstract, structural logic. I look for a surprise, a drama, a different way of seeing. I try not to see anything for itself alone, but as a part of the whole. In this context, my subjects take on meanings other than the accustomed ones. They are more than still life and landscape; they are comments on thinking and seeing. ...
Bernard Marie Collet - paintings and pastels around nature and history, through rocks and leaves,waters and skyes; through broken statues, steles and temples left by history to our questioning present. French artist living in Paris. peintures et pastels autour de la nature et de l'histoire Retrouver la nature encore sauvage, lorsque l'homme ne la dominait pas, vegetaux, rochers, eaux courantes, ciels. Travaux autour de l'histoire aussi. Quelle est la resonnance du passe a nos regards numerises ? Reconnaitre les heritages a travers l'epaisseur du temps, les reintegrer a notre errance. Savoir au moins d'ou l'on vient a defaut de savoir ou l'on va. ...
Sonja Kobrehel - My work in visual arts reflects the constant changes and experiences in my personal life. I am guided by my feelings, thoughts, dreams and visions. The sources of my inspiration are many: an appreciation for personalities and the human scale: in particular, I love to look for traces of people who came before and clues about what they did there and why. Journeys are an integral part of my artistic inspiration.The Mediterranean and Adriatic atmosphere that pervades my work comes from the summers I spent on the French and Adriatic coasts.I am always intrigued by the human cultural elements and visual stimulation that I encounter.I find that every place and culture reveals its beauty to me though everyday life. I like to use symbols in my art work and while creating my personal iconography.The symbols are clues to many aspects of my life, but my paintings usually start with a color idea, then evolve into compositions in which color is the primary subject. I work in collage, various media on paper and canvas, mixing everything possible together in a visual format for public display.Much attention is given to the surface texture by adding different materials, ...
Theodhoraq Napoloni - Artistic Practice My artistic practice generally is oriented towards painting. In essence the paintings portray theatrical situations created by objects, and for a formal and aesthetic appearance the image that is represented has the quality and attributes of''FICTION REALISM''. What interests me most is the expressing of situations that deal with the unconsciousness, and it is exactly this unconsciouss that gives a lot of importance to the instinctive side and pushes me toward certain actions or pulls my attention towards something. During the realization phase of painting, this''special interest'' becomes more stronger and gives the image more apparent clearness with all the details and characteristics of the object. For me, the content I select to represent is very important. It is a selection that follows intuition primarily, and the psychological stains, putting them all together towards a real ending, that in fact, is an invisible reality whose imprints are hidden deep into fragmentilized moments of our history. All this process for me is the best tool to bring it in surface the deepest content of the truth, and the aesthetic dimension. The nature of the objects that become part of the painting is different. Sometimes the definitive images ...
Mikhail Evstafiev - "Instead of imitating reality, I prefer to interpret it, at times distorting it to achieve an emotional effect, playing with shapes, forms and colours, scratching a finished canvas to reveal the inner beauty of the layers beneath." Mikhail EVSTAFIEV ...
Bruno Lassalle - The art of Bruno Lassalle goes beyond the ordinary rules and hierarchies. With an amazing freedom, he opposes shapes and colours. He takes us into a poetic world where composition and strength show through colour, contrasts and rhythmic mobility, within a unified space of supreme autonomy. He takes us into a world of dreams, almost unreal and yet warm, sensual, exotic and surprisingly tangible. His works speak of life, of those moments of happiness, tenderness, loneliness or boredom that punctuate our existence, and they seem to speak intimately about us. Galerie Aude Oumow, Saint Germain-en-laye, Juin 1996 ...
Timothy King - ARTIST STATEMENT and BIOGRAPHY STATEMENT I find painting goes beyond the notion that painted reality is "nothing but " a precursor to a photographic realism. Painting is a phenomenological experiment. There is a synthesis between the visual and the kinesthetic that forms a powerful third range of human perception. Human space and form are not purely optical manifestations. The painting of mass and line can provoke a muscle sense, a physical ness between viewer and the painted relationships. Hans Hoffman called this "Push-Pull". Matisse referred to this as the convexity of pictorial space. In this "meta-vision" or "minds-eye" the painter is not freed from the experience of perspective and local color and the naturalistic geometry of the objects and scenes. Rather, the painter can be liberated by the experience and knowledge of the defining aspects of human reality. Vision encompasses the obvious factors of sight along with other less obvious paths to sensing reality. Human vision is based on a plasticity of structures that tell us more than what a photograph can convey. The visual system, governed by layers of logical relationships, goes much further than a photo interpretation of reality. Painters like Courbet and Cezanne understood ...
Boyko Asparuhov - An imaginative expressionist,Boyko,s oil paintings are a treat to the eye and the soul with their strong brilliant colors,fantasy characters and symbolic elements fused into a bold,graphic style."My work conveys the positive energy of the universe-love,romance,dreams,music,nature,beauty and freedom,"says Boyko. Born in Pleven,Bulgaria in1959,Boyko began painting at age six.After graduating from the Bulgarian Academy Of Fine Art,he muved to Prague in the Czech Republic where he operated his own gallery until 2005 year. Boyko lives and works in Chicago,United States...
Lavih Serfaty - Lavih Serfaty is a multicultural artist. The works are on canvas, paper and aluminum. The painting are in acrilyc and water color. The latest painting are painted on aluminum with acrylic color. The use of bright and mono color is a result of a deep learning and understanding the power of the colors as it's affect people. The color can change the atmosphere of the environment, can heal our soul. The use of the right color in the right place can bring new and pure energy in our home. "I use the theories of color therapy, "feng shui" and "chakra energy" in my painting. The idea of making those painting is a result of long period of meditation and listening to music. Then I decided to paint with just one color according to state of mood I am, after I meditate. The aluminum is folded before I put the color on. When the painting is hanging on the wall, the color change as the light is changing during the day, the shade accentuate the color and change them to deep, darker or lighter. It's fill the room with bright and clear energy. The colors I choose are from ...