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Artist Statement:
Artist Statement
The concept of the imagination
and feeling of astonishment
are lost in the tridimensional
space of surrealist dreams and
the technological world of
reality. The world that
surrounds us, such as the
television and computer
screens order the imaginary
world to construct the 21
century. We are trapped...
Further Information
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Artist Exhibitions:
Coming Soon!
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Artist Galleries:
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Artist Reviews:
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Collections:
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Commissions:
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Anton Olea Biography:
| Biographical information for Anton Olea can be found below. The artist may choose what information to display. Sometimes the artist chooses not to display personal information to the general public. |
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Age
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0
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| Gender |
Male
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| Status |
Married
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| Children |
99
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| Religion |
not provided |
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| Education |
Graduate Degree |
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| Hobbies / Interests |
not provided |
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| Favorite Artistic Medium |
Painting Oil
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| Favorite Arthistory Movement |
Surrealism - (1924 - 1955)
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| Favorite Visual Artist |
Roberto Matta
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| Favorite Work of Art |
not provided
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| Biggest Artistic Inspiration |
The concept of the imagination and feeling of astonishment are lost in the multidimensional space of surrealist dreams and the technological world of reality. The world that surrounds us, such as the television and computer screens order the imaginary world to construct the 21 century. We are trapped without being able to seek freedom and instead we are in a cruel and alienated world.
Humans always seek to recreate the imagination, such as the establishment of order.
Fantasy images and connections with human beings are hypnotized into the absent of reality and are questioned to about life. The forces of power, domination and universal machinery utilize us to become aspects of ‘production gear’.
My world of fantasies are placed in two realities on the canvas: one is the creation of a relationship between communication and images, in particular the technological productions. The second are being evoked into the tiny organisms of nature and mixed with the computational world, thus creating a different image.
I recycle objects of the disposable machinery and reconstruct them as a visual representation between what is the natural and the technology.
This complex functionality of nature is the pattern which man creates and uses. To transform life and use technological machinery, that influence humans to turn to dependency. Suggesting that these tools are what paces humans to develop progress and speed life into the construction and reproduction.
Assuming that these objects will create ‘ease and happiness” for the modern soul.
Nature and man walk in distinctive paths, one looks for the regeneration of life and thus lives its infinite species, however also man destroys and profits these resources without realizing the consequences for the future humanity.
Anton Olea
Artist
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| Why Did You Become An Artist |
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| Your Personal Biography |
Anton Olea; an urban painter, was born in Chile, in the South of South America. An eternal defender of the anatomy, an irreverent user of the colors, a warm speaker of a simple phrasing. With surprising messages from underground in his word games. A painter with attitude. As a professional he is addicted to the art as an option and as a belief an innovator.
His history tells us that he started in the 80's in Chile, during hard times of social-political crisis. He began his formal studies at Artistic Experimentation School, participating in exhibitions and the so-called 'artistic actions' kind of artistic 'happenings'. He also participated 'in mural paintings in different communities in Chile. He was also member of the Chilean painters and sculptors Association from UNESCO.
During the last decade, his first experiences were 'in mural art, when visual arts were the strongest expression of the social crisis 'in South America. Later he developed a process of artistic and personal growth. He tried to find out a permanent meaning within a world of magic and myths. His work framed on the mixture of this end of the century cultural approach and the culture existing in America before the arrival of the Conquistadors (Spanish Conquest).
After a hard and restless questioning, 'including Anton himself, he would try to break the chains, his own fears to get a proper language in his work. Now, it is not the matter of a standard level, or just innovation, political correctness. It is the moment to express the madness of the coexistence between life and death in an environment full of hidden meanings. This unbelievable paradox and his private life have turned him quiet, reflexive and sometimes contemplative. Anton says: I know I have to go on and on until I get there.
His imaginary world is full of geometry coexisting with shadows and nightmares. It is also populated by linear characters with non-linear expressions. They seem to be the new gods proposed by Anton. The semiotic used 'in his work is assertive, ludicrous and profane without losing the spirituality, the sense of being popular, the roaring of his homeland. It is not a 'snobby' conception of the art, it is the outcome of his own experience in a 'poblacion'(neighborhood). He took that expression from the wall to the canvas, with new elements from his internal growth in a new society.
Culturally exiled in Australia since 1988, his works have been exhibited in several galleries: Tap Gallery, Argyle Gallery, Australian Museum, Bondi Pavilion, Performance Space and others.
Anton proposes to express the vital drive of the human race. When we face the XXI century, ideologies and isms have lost the track. The basic sense is the only resource in use. A new mythology is among us. A painter cannot be attached to a specific artistic movement-not today- a painter cannot be manufactured in universities or academies. He has been questioning through his lines, shapes and colors. Stereotypes and obsolete thesis are stuck in the past. The human race and the artistic work are looking for a refreshing answer. This age paradoxically allows to coexist Internet and unemployment, new-age and aboriginality, multi-ethnic and racial hegemony. Anton belongs to this context.
When millions of human beings are surviving just with the vital drive, culture is still elitist and with no universal~ meanings. Who understands a classic work? Who classifies the painters? Who defines the correctness and the aesthetics? |
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