Oil Paintings

Artists Describing Their Art:

Pia Cantos Floridos - Rescatar las partes de la vida que nos nutren, lo que llena nuestra vida de luz, color y suenos, lo que se queda de nuestro quehacer cotidiano, que nos hace crecer como seres humanos... eso es lo que yo pinto, es mi realidad y mi sueno, cada cuadro de ser un sueno pasa a ser una realidad que me transforma....

Corinne Medina-Saludo - Corinne Medina-Saludo: Creating a Figurative Kinestesic Art The basis of the art of this french contemporary painteri?1/2s research is the " body-mind", or better said, "body lenguage": the painter using her inside physical and emotionnal feelings, as a medium, and also, intention of her art. In her painting act, a mental representation of the body is, at least, coming into the canvas, as a plastic element of of "painted sintaxis" She is a member of Taylor's Fundation of Paris, since 2006, and represented by Drouot-Cotation since 2000. She recently exhibited some featured works, as "Resurrection" in the Miami Museum of the Americas", ( 2010 july, International ART Exhibition). ...

Thor-Leif Strindberg - During the last years, I have moved more and more towards the abstract art. When searching for new roads in a strange territory, you always make new discoveries, and I have found a mode of expression that enables me to tell the observer a lot more than by depicting nature and the human form. A distinct, detailed subject can easily become an obstacle to communication by prevailing in the eyes of the beholder. In my abstract paintings I can transform thoughts and impressions directly into colors and shades, textures and brush strokes, like grooves on an old record. Neither do the paintings carry any titles, since I believe that this might limit the experience, because the beholder would consciously or unconsciously look for definite, well known shapes in the picture. So when something is depicted in my paintings, it is always something very simple. Like bowls. And cups. And plates. Plain and ordinary things that we all recognize - things that can easily give up their natural roles as utility goods and turn into picture elements with a new purpose and function as carriers and conveyors of memories, dreams, feelings. People often ask me about the texts in my paintings. The ...

Susan Cantor-Uccelleti - My Statement as an artist and what art means to me and effects my life aEURoeArt Heals Body and SoulaEUR Abstract Expressionism gives me the freedom to express my inner feelings and also how I see the world around me through color and movement. My paintings are my life on canvas which I hope to be able to share so others can see the beauty and the wonders around us. This gives me purpose to go on, to be able to create is to live. Painting has always been part of life, in my early years I painted what I was able to see, but now I paint my emotions. My life, as everyone, has had its ups and downs. Each of my paintings represent my moods and situations around me. When you first look at my art, you will see colors, but as you back up and study each painting, you will see something different. Each piece of my artwork has some part of me which I gratefully want to pass on to you. My work is all original, there are no copies or prints, each one of a kind. When I paint, I think colors, movement and balance, ...

Christine Montague - Christine Montague is a professional award winning visual artist known for her portraiture commissions, figurative landscape art, and polar bear oil paintings. Why polar bears The character and spirit of the bears, their high intelligence think great ape, their solitary lifestyle, excellent mothering skills, their place in our world, and the very landscape they wander in, embodies all that I have tried to represent in my other artworks - spirit, character, intelligence, personality, solitude without loneliness, discovery, mindfulness, joy, beauty, escape. Travels to the Canadian arctic Iqaluit Cape Dorset in Nunavut and subarctic Churchill,Manitoba, Canada - polar bear capital of the world and my stay at the Churchill Northern Studies Centre Churchill, Manitoba, Canada, furthered my education and wonder for these magnificent bears and the magical landscape and skyscape - the northern lights. Polar bears are definitely a canary in the coal mine symbol of climate change and my polar bear paintings often symbolize this potential for great loss as their numbers reduce. The effect vanishing ice has on the survival of the polar bear resulted in my series such as the Sink Swim Series. But other works simply pay tribute to this wonder animal in its magical, mysterious environment of frozen ...

Denise Seyhun - The glowing energy of waves and the foaming seas captivate my soul, and as a result my seascapes, waterfalls, and riverscapes bare witness to my love and admiration for the force and elegance of bodies of water. Main character in my oil paintings is water, which deeply fascinates me, not only as true beauty but also with its transparent colors reflecting in constant motion. As an artist my purpose is to accomplish the portrayal of the emotional tones and depths of shades of truth that are displayed in continuous movement. For this particular reason the unseen and untold dimensions that the undertones and the overtones of bodies of water allow me to experiment with a wide array of colors on my palette. Consequently, my goal is to never repeat myself in my artistic journey as I continue to play with many shades of reflections in water until I have compiled a finite collection of all shades of water....

Denise Seyhun - Carlos Pardo - IN SHORT: INSPIRATION: Concious and unconcious perceptions, my background, all circunstances of my life, experiences, past and present, books and newspapers that I read, films, Internet aEUR|feelings, emotions and a fertile imagination sometimes, all them aid to weave a story that will change alongside the execution of a piece. In my opinion our tradition, for thousands of years, the Arts reflect the vision of a trascendent life beyond our tangible life. THEME: Unreal cityscapes let us a special kind of plasticity. The imagination and feelings are active agents that are modeling the perceptible reality. Transcendent and oniric themes entered and remain in my artwork. In my imaginary urban landscapes there are overlaid elements of towns he has visited, some imagined, and maybe dreamed, but all with a unique feminine soul. The Town is a mother, lover, or daughter of the actions, dreams and passions of those who dwell in them or recall them in the distance. It is an idea in which wander those who have been caught up in its infinite labyrinth. PROCESS: I usually have not idea about what I will show on the surface. There is a lack of a script or previous sketch. Forms are born...

Katalin Luczay - Painting to me is an expression, interpretation, and appreciation of the world around me. In my opinion any art should inspire and elevate the human spirit. These types of art works are immortal, such as the works of the old masters. In my paintings I strive to achieve these ideals. I would describe my works as related as representational realism. In my seascapes I bring many different colors together to illustrate the movement of water. In my landscapes and still life works I like to emphasize the play of light as it hits a focal point. I like to paint in oil because I can achieve this sense of light and motion by glazing over layers, as well as in oil I can achieve a richness that I find limiting in other mediums. Please see my website at

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 ) ....

Alexandr Ivanov - OVERCOMING OF LONELINESS Painting as well as any present{true} art is improbably sensitive to an essence of time, its{his} secrets, fears, hopes aEUR| the Rhythm of an epoch, its{his} power, always D1/2DuD3/4ND3/4D*D1/2DdegD1/2D1/2D3/4 are reflected in music, the literary statement, is freakish and D?D3/4N,DdegN'D1/2D1/2D3/4 leave traces on a canvas of the artist. Time silently addresses to the master inquiry. The end of a century of the past - the beginning present ascertained weariness of a postmodernism in which EVERYTHING has been admissible, and any Text became the World in which settled ND,D1/4NfD>>NDoNEURN<, allocated D,D1/2N,,DuNEURD1/2DdegD>>NOED1/2N>NOED1/2D3/4NN,NOE emphasized D,NN++DuNEURD?DdegD1/2D1/2D3/4NN,NOE searches of the modern language, new dialogue with itself and with eternity - all was, was, was. The existential loneliness of the person who has lost in time aEUR| became obvious Alexander Ivanov - very modern and duly artist. Its{his} painting is interesting to me for a long time. That not noticing, it{he} as it seems to me, has passed{has taken place} a complex{difficult} way of influences of a postmodern on its{his} handwriting. I ...

Paul Carroll - In the act of observing , an object, figure, the idea is understood, by my perspective, a place in time, and interpretation, an interactive relationship between myself and that which is observed. I have always felt, upon the rendering through painting a kind of intimacy is developed, though the act of mind, hand, heart. As a painter I explore the risk of materials and ideas, as well as the autonomy the work itself demands, in order to explore the unfamiliar, in the hopes of creating something new. My inspiration comes from my environment and experience, I grew up and studied in the epicentre of chance, New York City, saturated with urban messaging, a landscape awash in pre-digital billboards built with layers upon layers of peeling information no longer conveying a single message but a visual distortion of fact, a decomposing testament to a rate of change not comprehensible by the average passerby. Though the means of the Abstract I attempt to make the unconscious, conscious by the use of allegory and symbolism to bridge the gap between the intellectual, thought filled real world, and the intuitive, spiritual world of the senses, in the hopes of imbuing the richness of a ...