Serigraphs

Artists Describing Their Art:

Hans Andre - Rarely do I willingly speak of my paintings. What I see is not necessarily the same as you see. The paintings should only be seen in the viewers own eyes. However, in my last solo exhibition during the fall in Milan, organized by Camaver Kunsthaus, an Italian asked why the people in the paintings are always blind. The answer is simple, although people may see physically, it does not make them look mentally. Unfortunately, most people are blind. Visit : www.hansandre.com...

Youri Messen-Jaschin - From 1958 - 1962 his artistic studies lead him to the higher national school of fine arts student of Professor Arno Roberto Cami and to the Practical school of the Sorbonne, division of social sciences history of art, Professor Pierre Francastel in Paris. From 1962 until 1965, he went to the School of fine arts in Lausanne. He worked with the engraver and painter Ernest Pizzotti. A<> in 1964 with his kinetic glass and acrylic sculptures. He worked two years at the aEURoeCenter of contemporary engravingaEUR in Geneva. Then, he worked in Zurich, where he broadened his pictorial perspective with the painter Friederich Kuhn thru experience of the circle in the face. From 1968 until 1971, he acted at the University of HAPgskolan fAPr design Konsthantwerk in GAPteborg, where he created researches of textile kinetic objects. In 1967, he met at an exhibition in GAPteborgs Konsthall JesAos - Rafael Soto, Carlos Cruz-Diez and Julio Le Parc. Speaking with these artists, he discovered to be fascinated by optical art. He decided to devote all his research to kinetic art. An extended stay in GAPteborg gave him the opportunity to constantly evolve in movement and ...

Rachel E Heberling - I walked up the dirt road before leaving the mountains. Fall was creeping in. I thought a car had driven by, but there remained a strange banging and rattling noise. I turned around and listened, yet nobody was there. I looked again; it was just a 25 mile-an-hour sign caught up in a tree. With the winds kicking up, I ran back down the hill. There were always strange machines in the basement. A Victrola, oil lamps, and car transmissions sat in the dark, collecting dust by the coal furnace. I grew up in a log home on a mountainside in Pennsylvania's coal regions, where black slag piles were poised to swallow one-street towns: a landmark of the Industrial Revolution's demise. When I would pass just over the ridge and wander through abandoned factories, I could feel the heavy air inside: damp and laden with an eerie silence. My childhood existed at the tail end of an era of typewriters and rotary phones: forms of communication that demand a physical connection. These fragmented memories still exist in the tactility of ink embedded into a surface, whether rolled through a press or fed through a typewriter. ...

Karen Morecroft - My work is primarily based on my experiences of the city, including my travels through the US & Europe. Documentation is an important feature of my work as it is where I collect my source material, which is a key element to the images I create. My work relies on photographic and found imagery along with collected objects from many varied sources, including the mass media. Layering, repetition and opacity are key elements of of my work that strive to reflect a certain nostalgia....

Peter Lendvai - &...

Rachel Dimicco - The concept of my work was conceived from pondering the unexplainable, unrepeatable occurrences in the natural world. This concept was then studied through the spontaneous intuitive processes of interaction between the fragile and irreducible materials and environmental components. The process was motivated by exploring the deterioration of natural elements. My work's intent was to alter how the elements of nature are viewed through conjoining atmospheric elements and natural phenomena. ...

David Sananman - My artwork, across different mediums, is about exploring the dimension not visible to our eyes. I am trying to bring forth into physical reality images and animation that comes from within my mind. Through the different mediums of painting, printmaking, and animation I get to discover the strengths of those particualar artmaking techniques and apply it to my abstract work. Much of my work is simply applying what I have learned of art's essences such as color, composition, technique, and theory. I derive a great sense of fun and mystery that I hope others will also form their own impressions from looking at my work....

Tatana Kellner - Growing up in communist Czechoslovakia, as the daughter of Holocaust survivors, I learned to mistrust authority and question official doctrines. The current political landscape with the erosion of civil liberties, the misinformation fed to us by our leaders and the manipulation of facts by the media has motivated me to refocus my artistic concerns from exploring my personal history, albeit political, to taking a direct stance on contemporary politics. I use media, especially the newspaper, as my primary source material. The images and text fragments are processed in a way that parallels political maneuvering (deal making). My work is tactile. Layers of inky marks form the images. The inherent messiness references political corruption, loss of innocence, and encapsulates a specific moment in time. History defines us. History haunts us. ...

Zinovy Shersher - When I emigrated to the US, I was not allowed to take my paintings with me - by the Soviet government. They said to me you are professional artist, you studied inRussian University, so everything youve created belongs to Russian people. So when inNew York I could not show anything Ive created to the American galleries. But aftervesting many of them in NY, I was amazed by the variety of different schools and styles of art in Dmerica, it was a firework of colors, manners, techniques, I realized that I had to find my own style, own motives in my art, I was glad that Ileft everything I created before behind. It took me 3 full years to create a new group of work, 6 years to find my own style,- modern, contemporary with great school and techniques I got from Russian school and a course in School of Visual Arts in NY. I started to create paintings and realized that I have basically 2 themes in my paintings Music and Love. SInce I am a musician and composer myself, I studied violin in childhood, I realized that the violin touches the most sensitive nerves and feelings in the human body, ...

Stewart Moskowitz - For too long, man has been unable to strike a balance between his needs and those of the other inhabitants of our planet, and has taken the planet for granted. Fortunately, we have realized how fragile our earth is, and we have begun to accept the shared relationship between man, nature and all things under the stars. I explore my own special vision of our world through my art, using characters in unique, yet humorous ways to express my whimsical reality. Combining a mastery of color and technique, a Moskowitz canvas, though fanciful and fun, provides an insight into our society, leaving a positive impact on its viewers. I believe that the bedrock of the Universe is based on loving cooperation. This is a given quality in life itself. My work exemplifies this belief. Stewart Moskowitz...