Artists Describing Their Art:
Simon Kavanagh - Why is it, or how is it that after the most incredible artistic revolution which occurred at the beginning of the last century, Art has become the most static of all the arts. Considering, that experimentation into the use of computers and technology in artistic expression started proper in the 50's, why then is art not catering for increased social awareness and using the tools that are currently and for some time have been at their disposal. What would the Futurists, Cubists, Constructivists etc. have made of this advanced technology, if you consider for example what the Futurists did with cinema in 1916, and the cubists with painting and sculpture. Lets not, belittle all the very unique and ground breaking work that was created in the 50 years that followed, Fluxus, OP Art, pop art, kinetic art, happenings etc. It seems after Nam juin Pak, everything went horizontal, even his work...What is next? What has happened to the modern day artist? Commerciality perhaps! Lack of inspiration? Skill? Time?...
Dmitry Rakov - Impossible reality (All new artworks and largerview at www.rakov.de and
Maria Teresa Fernandes - Admiring Teresa's paintings we are touched by her pictorial sensitivity. Difficult task in light colors (volume and transparencies on a clear basis). Few do it due to the required dedication with pallete knife(no brush).It's painting consacrated by the love to paint. Radha Abramo(Renowned art critique)comments at Solo Exhibition Catalog at SESC Paulista in June 84 -( sent at request and reproduced in one of the pages of this site). ...
Mark Struzynski - Mark Struzynski Certain Relationships develop in our minds, between quite dissimilar objects, ideas, smells, etc.. These relationships are abstract, often unconscious, and unclear. Mark Struzynski was born in Chicago, IL. in 1957. He became immersed in art while living in Copenhagen, being befriended by students, graduates and Professors at The Art Academy of Copenhagen. He attended lectures and read every art book in the Art Library, as his 'art education'. At the time, that he was living in, Copenhagen he was involved with the Photographic process, how photographs are thought of as being direct transfers of reality, but actually remove or miss a certain amount of detail and the effect of these 'mistakes'. These musings led him to working with Photo-emulsion canvass, developing photos of drawings, which were derived from both found and self-taken photographs onto the Photo-Canvass9see web-site www.markart.org for examples). Upon returning to his hometown Chicago, he returned to painting working with different layers both physically (textured paint and images on top of each other) and mentally, (the different layers of dreams). These paintings seem to develop into a series, which was named Untitled Box Series (see web-site www.markart.org). ...