Dave Martsolf, Matei Enric, Kaloust Guedel, Ho Baron, Jim Relyea, Mile Albijanic, Francis Vandendriessche, Ron Fritts, Sebastian Ruiz Diaz, Ray Moon, Max Tolentino offering original Assemblage artworks. Although assemblages are often similar to collages they are three dimensional in their elements versus a two-dimensional collage. Often assemblages are also called artistic objects originating during the 1920's - Pablo Picasso and his cubist constructs. Other important artists using the concept of assemblage are Marcel Duchamp, Jean Dubuffet in the 1950's, Hans Bellmer, Joseph Cornell and of course Janice Lowry, Alexander Calder as well as Louise Nevelson. Not to forget Robert Rauschenberg, Edward Kienholz, Minoru Ohira all used the medium as objects made up of preformed natural or manufactured materials or fragments often not intended as art materials.
Browse over works of contemporary art for sale in the price range . On this page you can find works by Dave Martsolf, Matei Enric, Kaloust Guedel, Ho Baron, Jim Relyea, Mile Albijanic, Francis Vandendriessche, Ron Fritts, Sebastian Ruiz Diaz, Ray Moon, Max Tolentino.
Dave Martsolf - Dave Martsolf I have a hand-drawing personal style that I love, but also use photorealistic collage style for some surreal work. In addition, I continue to enjoy explorations in every direction. My surreal visionary style is conceived in the bowels of endless empty space. Worlds come out of nowhere to define and fill empty space with form and reflected light. I use posed photographs with specific viewpoints that join seamlessly with other images to develop a hallucinogenic, some say gut-wrenching realistic space where mind-bending visions rule. My personal drawing style is in its simplest essence the line the drawn line and what it represented as the delineation of a form, a space, almost the way a topographical line feels out the form of a hill, or the way a blind man feels out the tender forms of his or her lover. That line is also the signature of the vibration of life and lifes emotions, twisted by the influence of others, fighting for a day in the sun, learning the way of calm, the mastery of the surf of life and the swell of love and anger. Brownian motion, cosmic ray decay, elemental particles, the paths of ...
Matei Enric - My art is a combination between easel and wall painting. More pieces which are assembled together, creating a full image, a piece of work. Space, as usual, circumscribes the work, the wall ( the vital space around the picture ) is inserted in the piece of work, becoming in this way an element ( having plastic valences) of the composition. The piece of work, in whose substance is also integrated the wall where it is placed, remindes of the wall painting , having a better comunication with the environment unbeing isolated from it by a frame or a closed shape ( square, rectangle etc). The base of my painting consists of the plastic rhythm ( the whole composition relying on the arrangement of similar elements) and the use of different ways of the elements materialization ( brush-up ) ....
Kaloust Guedel - Statement My work investigates the relationship between transition and space. Transitions may be identified in four general groups: Additive - addition, introduction, reference, similarity, identification and clarification Adversative - emphasis, concession, dismissal, replacement and conflict Causal - cause/reason, effect/result, purpose and consequence Sequential - numerical, summation, conclusion, continuation, digression and resumption Transitions harbor dynamic properties. In my work the meaning is re-identified, re-defined and re-introduced in visual terms as a reflection of its contribution in countless aspects of life. I am not trying to dismiss the passed, but to emphasize the present by keeping in touch with the pulse of life. To me there is no such thing as abstraction. Each form, line, color, shape, or concept is deeply rooted into reality as I perceive to be. Without concrete reference to any of above mentioned values, It's hard to have a satisfactory outcome, or even imagine one. The process of creation is spontaneous and rarely thinking comes into play. I consider physical involvement in this process very important. Without it, you may end up having a compromised outcome not because other can not do better, but because it can not be consistent with my sensibility and as importantly, ...
Ho Baron - Inventing abstract figurative imagery is my calling, and for fifty years IaEURtmve been obsessed with creating surreal narrative bronze and cast stone sculptures, pen and ink drawings, photographs, and most recently assemblages. My joy is in creating whimsical, anthropomorphic creatures that lend themselves to scenario. My art is archetypal, exemplifying Karl Jungs theory of the universal creative unconscious. I model my sculptural imagery intuitively, the forms only dictated by their armatures, instinctually creating motifs that reflect my own unique and personal style. Recently my passion turned to sculptural assemblages. IaEURtmm uniting doll parts with locally sourced tree roots. Dolls are models of us, and the whirls and limbs of tree roots are reminiscent of human lines and appendages. Symbolically, the aesthetic merging is a logical union since we, like trees, are organic and share the cycle of life. Finally, in my book, Gods for Future Religions available on Amazon, I present my sculpture as a narrativevisual collection in a Jungian parable with each sculpture playing a starring archetypal role. Ho Baron, 2830 Aurora Avenue, El Paso, Texas, 79930 915-562-7820...
Max Tolentino - I do not think of art as a rationalization of an artistic thought or perhaps I am not still able to think this way. What fascinates me is the exercise of art; it is doing something that can express my personal point of view of things and the perception and the expression of the world as I see. Anything that carries human significance may cause me an emotion with the same intensity that I see at any museum in the world. Art is an emotional and intellectual product to me. Since my late starting in arts I have been sculpting my way in the artistic scenario with a differenced curiosity so that my overture to this environment gives me a privileged position. Doubts - no doubt - will arise, as my works transit between the formalism and the concept, between the beautiful and the political in art. But the doubts belong more to the one who sees then to me. Maybe I want to go further than the cultural concepts i?1/2 not that I pay much attention to it - but perhaps one day appreciating from outside I may glimpse a chance to be inside thus contributing in a certain way to this world ...
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