Artists Describing Their Art:
Birgit Huttemann Holz - For me the art of encaustic is the scent of memories and dreams, sweet and eternal. I paint with beeswax mixed with pigments, fuse each layer with fire (blowtorch), even paint sometimes with the destroying hungry flame. I love the physical impact of the blowtorch, the evolving mountains and valleys, possibilities, lost designs in the mixing and melting beeswax. The inner voice - fire is literally the tool. The use of the razorblade is thoughtful, thorough, controlled. Scratching away the layers, to get to the truth of a feeling, to reveal, to find the history of a painting is my greatest joy. Encaustic is known as one of the most difficult mediums to work with. It is constant loss and restauration. It opens routes of seeing you would have never guessed. The beauty of an encaustic paintings lies in its luminosity, transparent layers let you see through the surface- and you bounce back with light and awe. -of an illiterate poet. ...
Bridget Busutil - Bridget Busutil,google22976108fdd647b3.html Powered by View my page on Peacemaker Institute ARTIST STATEMENT. Art is a way of Life My life is about Art and reflects the multicultural diversity in which I was raised. I favour projects that mix Arts and multiculturalism and are interdisciplinary. I think that as an artist my world is not limited to an aesthetical dimension. Hopefully it goes beyond, through engaging a dialogue with the viewer that proposes discovery, criticism and reflection. Through my work I am offering the discovery of several worlds packed up in layers as in my encaustic, a sort of journey of self-discovery, as well as discovery of i?1/2the otheri?1/2 with the respect for cultural differences. The necessity is to succeed in viewing these differences as contributions to our own cultures and understand the wealth they have to offer. When I paint or teach students to draw a linei?1/2, I am aware of reaching out for a world without frontiers. Technically I wish to bridge the past to the present and show that there is a continuity in life experience that only artists are capable of showing. Keyword Optimizer ...
Sergio Olivosm - Investigating themes of humanity and human nature ... is what my pieces are a reflection of--an imprint...a memoir and a motive for reflection about my life and times. The presence and absence of objects (bullets, knives, teeth) play an important part in'rememberance' and the act of'provoking thought'. Being in the presence of an object we know is used to wound, to the print marking the obvious absence of the same- leaves one with thoughts of our own certain reality: our every day knowledge of the violence around me directly and/or indirectly. Iraq, Lebanon, Palestine, Israel, Ciudad Juarez- from my Mexico , My new home: Washington DC (this summer 2006--- 15+ murders.. and counting). Realities can also be simple as they surround me. My constant fascination with the beauty of insects and other found objects leads me to memorialize them on my canvases (btw: I only keep them when dead). In Mexico it was scorpions.... now in the Washington DC area, I am turning to wasps and cicadas. ...
Gudrun Ploetz - My paintings are all "wanted" paintings. That's a base thing I believe in. I think paintings and art in general is good if the artist wanted it and it came from his inside. Some artist "want" to do arts when they are down, some other paint when they feel well. I belong to the last ones. My paintings show the times my soul felt good. I can't paint when I'm down. Then I need music. But the more paintings I do in my good times, the longer I feel good. A good feeling, people I meet who touch my soul, warm words and good talks can inspire me a lot. And I want to transfer those, my good feelings to other people. Art is kind of healing, art can give you the power for the next step into the hard daily life process. That's why artists are necessary in this world, to make people happy, to give their eyes and their souls a gentle touch, to inspire them to try it themselves, to come in contact with paint and drawing pen. My paintings are all around colour, the first thing I notice myself at a painting ...
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 ...