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Hanne Feldt

January 27, 2014, 7:36 am
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Hanne Feldt


På siden Art by Hanne Feldt, vil jeg opdatere relevante oplysninger vedrørende min kunst. Herunder f. eks ferniseringer, åbent hus hos mig, nye billeder, priser osv.

Er du medlem af en kunstforening på din arbejdsplads, og har mine billeder vakt interesse, er du meget velkommen til at kontakte mig, for en evt udstilling.

Har du i øvrigt spørgsmål vedr. mine billeder, priser udstillinger osv., er du meget velkommen til at kontakte mig.

Efter aftale viser jeg gerne mine billeder frem hjemme hos mig selv.

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Liv Sørvaag

January 27, 2014, 8:04 am
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Liv Sørvaag



UTDANNELSE :
1997 - 99 Kunstskolen i Rogaland
1973 Fylkeshusflidskolen i Stavanger,
1973 - 95 Dekoratør
SEPARATUTSTILLING :

2007 Tysvær Kunstlag " Indre vennskap "
2009 Galleri Ågodt, Sommerutstilling
2010 Pitters kafe , Haugesund
2011 Moster Amfi, Sommerutstilling


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Nikoletta Bati

January 27, 2014, 8:45 am
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Nikoletta Bati


She was graduated as an art and visual communication teacher, later she discovered digital photo manipulation and it became her passion. Old drawings and photographs and her digital table helps her dreams to come alive. She is also participating in theater projects such as costume and scene design. She has had group exhibitions in Korea, England and Hungary. She lives and works in Hungary.


(thanks Nikoletta :) ) 















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George Jennings

January 27, 2014, 9:17 am
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George Jennings



George describes his process this way:

"I don't always have "inspirations" for each one my paintings in the way that most people commonly think of inspirations because I typically will either have a simple thought, an idea, or even see a simple image in my mind that I will use to create my vision in a painting. I do, at times, have influences from other great artists in history or an amazing style of art that can be seen in parts of my work. What I always try to do in my work is express the sense of and feeling of peace that I experienced while creating it. My hope is that when viewing any of my work it will cause a person pause and they will connect with the entire piece or even just a portion of the painting because it brings up a positive memory or thought of something that takes them back to a time in their past that could be as far back as childhood or even just yesterday but regardless it brings them joy."








George Jennings


George Jennings is a Seattle area artist who began his interest in art in his hometown of Washington, D.C. under the tutelage of his grandfather, accomplished Washington, D.C. artist John N. Robinson during the 1970's. George attended high school at the Duke Ellington School of the Arts in Washington, D.C. and upon graduation, continued to hone his artistic abilities through several years of self-training. In the late 1990’s, George moved with his wife to Seattle, Washington where he continued to pursue his interest in art as a career.


In 2004, George began showing his work publically, first at the Crispinal Art Gallery in Seattle (Belltown), Washington and then in a private three day solo showing at The Red Lion Hotel in downtown Seattle. In 2008, he entered his first art contest in over 25 years and his portrait painting named Seattle was accepted into the juried gallery of the Edmonds Art Festival! George continued to enter his work into local Seattle area juried art shows (the Edmonds Art Festival and the Annual Northwest African American Fine Arts Exhibition) and participated in his first art walk (the downtown Renton Art and Antique Walk). In 2010 and 2011, George’s artwork continued to be accepted into various juried art shows and twice he was the featured artist for the Onyx Fine Arts Collectives art shows in Seattle and Portland, Oregon winning the People’s Choice Award in both the 2010 and 2011 Onyx exhibits! Also in 2011, George created his very popular piece, an acrylic painting titled “A Dancer’s Feet” and also designed and produced a collection of greeting cards each based on his original pieces of artwork. 2011 also provided George with a large following as well as many requests for collaborations through various social media platforms (Twitter, Facebook, Tumblr, LinkedIn and DeviantArt).


for more visit artist website or his Facebook PageF
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Petya Evtimova-Ivanova

January 27, 2014, 9:42 am
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Petya Evtimova-Ivanova


Born in Veliko Tarnovo, Bulgaria

Education

Master of Fine Arts, 1999, St. St. Cyril and Methodius University, Bulgaria
Subject: Fine Arts, student of Prof. Aleksander Terziev

Emilian Stanev High School of Fine Arts, 1994, Veliko Tarnovo, Bulgaria



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Kirsty Elson

January 27, 2014, 10:55 am
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Kirsty Elson


Original unique sculpture from Cornwall, using driftwood, rusty nails and any other junk I come across!

"About me

I am a multi-media artist lucky enough to live in beautiful Cornwall. I am inspired by my coastal surroundings, and my work is heavily influenced by the worn materials I discover washed up on local beaches. I love the idea of using found objects like driftwood and turning them into something beautiful and unique. I hope my work makes you smile!"

Kirsty Elson

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Luis Frutos

January 27, 2014, 1:19 pm
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Luis Frutos



1947Born in Madrid, Spain.
1965-1971Studied Economy in the Madrid University.
1972-1978Studied drawing and painting at "Circulo Bellas Artes" Madrid.
1978-1980Worked in the Studio of master José García Herranz.
1982-1983Studied eching in Leon University.

Works in Altea (Alicante) Spain and Norwich (Norfolk) U.K. where he spends few months every year.

Has been showing for over twenty five years and received good recognition. Is represented in public and private collections of several countries: U.S.A., U.K., France, Belgium, Luxemburg, Denmark, Holland, Norway, Germany and Spain.


Text

The painting of Luis Frutos is the consequence of the harmony or distancing between these four factors:
Plastic expression, sensual expression, emotion and intuition, rechannelled by essentially rational procedures.
From here procedes his orden and coherence and with these priorities he controls the dilatoriness and refinement of the material, rich with textures and thick glazes which he uses with such efficiency.

Luis Frutos is firmly established in the Spanish tradition. Using an evocative Mediterranean palette and a dramatic sense of composition Frutos produces stylish canvases provoking constant echoes of the best spanishs painters

'Evocative, colourful, mysterious' are all adjectives which go some way towards describing the paintings of Luis Frutos.
He begins by covering the plain white surface with layer upon layer of rich and deep colour – allowing it to dry thoroughly before using sandpaper to clean and buff the meticulously prepared area.
The final touches to every painting include several applications of transparent glaze and carefully selected varnish.

An often-quoted truism is that an artist observes while most people just look, but Frutos invites the viewer to join him in his exploration of reality and imagination.
He believes that everyone must use his or her own feelings and emotions to arrive at an opinion about his work and that posing questions which make one look and think is the job of the artist.
In these vibrant and sometimes disturbing paintings, Frutos does just that.

Can you imagine how I feel when people see my work and loved it?
















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Shiloh Sophia McCloud

January 28, 2014, 1:40 pm
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Shiloh Sophia McCloud



... "Painting for me is a devotional act, a spiritual practice, a prayer and a way to share my love. My creations are the bountiful harvest from a life lived in service to Beauty and the Divine. I feel like a tree whose branches offer fruits and flowers to the sky – that must be -because they do not belong to me. My creations are both my offering and my overflow.

When I create with inquiry and intention, I am able to open a door to the sacred space between worlds. That is where I paint from – straddling spirit and matter, unmanifest and manifest, broken dreams and dreams fulfilled, suffering and healing. It is here that I find I can synchronize my own heartbeat with that of the world. Where I am in some small way one with all that is, even just for a few moments." ...

Shiloh Sophia McCloud

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Bio

Shiloh Sophia McCloud has dedicated the past seventeen years of her life to the study and practice of art as a spiritual discipline as well as to helping equip women with the tools and understanding to develop their own creative potential. Shiloh’s artwork is dedicated to providing healing images of women and family. As a leader in helping to build a transformational art movement, Shiloh lives and teaches a philosophy that all art forms are tools for individual, social and spiritual transformation. Thousands of women have deepened in their creative practice through Shiloh’s illustrated Color of Woman journals and her workshops. Shiloh is the founder of Cosmic Cowgirls Ink, LLC a woman and girl owned university publishing company, magazine and membership community that now produces five Color of Woman journals with dozens more on the way. Shiloh is also the founder of Palm of Her Hand, (501c3 pending) which collaborates with artists. poets, musicians to create events and products. Shiloh’s paintings are internationally collected and her product line is represented at galleries and fine shops throughout the Unites States.

Training and Education

Two year mentorship in painting and clay with artist and illustrator Sue Hoya Sellars
Icon Painting Apprenticeship to Pavel Tikhimov, famous Russian iconographer
Academy of Art, San Francisco, Two years 1992-1994
College of Marin, Kentwood, Two years 1990-1992
Dominican College, One year 1989
Holy Orders – 2 Years St. Mary’s – Ordained Reverend

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Rebecca Guay - Rebecca Leveille Guay

January 29, 2014, 3:07 am
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Rebecca Guay - Rebecca Leveille Guay



Rebecca Leveille-Guay graduated from Pratt institute in 1992 has been painting professionally since she left school. She began her career as an illustrator and is highly recognized within the field. Her images have been shown and acquired by countless private collectors and several museums including the Eric Carle Museum of Picture Book Art and the American Museum of Illustration at the Society of Illustrators in NYC.

In her personal watercolors and oils—her self determined narratives—she delves deep into archetypes of masculine and feminine and deals with complex ideas of sexuality and sensuality. Her philosophy of image making is driven by the principles of creating a remarkable moment, thereby making a deep emotional connection with the viewer. Rebecca's recent work creates an environment of lush surfaces, forms and gesture that live in a reality entirely of her own creation.


















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Charles Johnson

January 30, 2014, 2:46 am
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Charles Johnson



MFA, University of Wisconsin, Madison, 1989; BA, University of Wisconsin, Whitewater, 1982




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Dayann Arce Rodriguez

January 30, 2014, 3:26 am
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Dayann Arce Rodriguez


Dayann Arce Rodriguez is a private painter who has sold his artwork to private collections in Spain, Austria and the United States. He currently lives in Havana, Cuba.

Having graduated from the National Academy of Fine Arts “San Alejandro” in Havana in 2002, Rodriguez has participated in numerous exhibitions.

“My work can be framed within the experimental camp, sometimes realist and sometimes expressive informal or conceptual – all depending in the moment and feelings at the time,” says Rodriguez.

“It is never my intention to frame myself within a particular style if this becomes a creative limitation.

My work at this moment of my life could be defined as surrealist art where the neo-idealist is mixed with graphic elements and expressive resources coming from abstract expressions percolating from the paint-dripping base of the painting. Other times this same base brings my intention to cut and bring out the figure that always occupies the front plane of the painting. This figure’s principal objective is to reflect the innocence of a dream world that functions as an oasis within larger conflicts – and the challenges and problems that our society lives. A space where our mind flies over – a space virgin of malice – within healthy and apparently ingenuous surroundings, through which I pretend to bring out reflections about the values worth saving within the soul of humanity.”




Dayann Arce Rodriguez
La Habana, 1984.

La experimentación formal y su combinación con búsquedas conceptuales apasionan a este joven artista plástico. Para ello se apoya en varios estilos, que hacen de su obra un trabajo variado y rico desde el punto de vista estético. En sus lienzos se funden recursos expresivos provenientes del realismo, el surrealismo, la apropiación, el arte pop y la instalación.

Su arte se caracteriza por ser básicamente humanista y renovador. Reflejo de todo un mundo existente, tratando de dotarlo de un sentido crítico y analítico, acerca de su contexto social, y condimentado con una inmensa carga de ironía..

Actualmente su trabajo se divide en dos vertientes. Por una parte un arte comprometido con la realidad, producto de su necesidad de hacer comprender los peligros que acarrean las guerras y sus influencias en la humanidad, y, en especial en los niños. Le interesa tener una postura crítica ante este fenómeno, enjuiciarlo y llamar a la reflexión.

El uso del objeto (muñecos) y su descontextualización para transformarlo en soldado, adquiriendo una connotación simbólica del ser humano, y en particular del niño, es algo que siempre ha llamado su atención por ser una imagen fuerte y al mismo tiempo irónica y reflexiva.

Por otra parte expone una obra de basamentos estéticos, reflejo de un mundo de sueños y fantasías, donde la nueva figuración y el surrealismo son protagonistas de este mundo onírico que se debate entre lo bello y lo bien hecho.


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Olesya Serzhantova (Serjantova ) Сержантова Олеся

January 30, 2014, 5:10 am
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Olesya Serzhantova (Serjantova ) Сержантова Олеся




Born in Kazan in 1975.
Graduated from the Kazan Art School, worked as a costume designer. In 2004
Graduated from the Moscow State Academic Art Institute , department of graphics.
Since 2004 teacher of drawing and painting at the Kazan Art School.


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Aydemir Saidov - Саидов Айдемир

January 30, 2014, 6:59 am
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Aydemir Saidov - Саидов Айдемир
http://www.aydemirsaidov.com/


 Aydemir Saidov is a Russian painter   born  March 29, 1979 in Tikhoretsk Krasnodar Territory. Father Aydemir Seyfulla Aydemirovich Saidov : member of the Union of Artists of Russia, Honored Artist of the Kuban, mother Lyubov Saidov . In 2000, Aydemir graduated from Krasnodar Art College, and in 2006 the St. Petersburg State Academic Institute of Painting, Sculpture and Architecture named after Ilya Repin (Academy of Arts) painting workshop O.A.Eremeeva, qualification painter. He currently lives and works in St. Petersburg













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Galina Anisimova -Анисимова Галина Петровна

January 30, 2014, 8:20 am
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Galina Anisimova -Анисимова Галина Петровна


Graduated from the Moscow Textile Institute after Kosygin (Faculty of Applied Arts).
Studied at VF Kozlov, Churakova KV Safohina AN Domogatskogo NM, Dubinchik AM
Since 1984 - Member Artists' Union of Russia.























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Serena Fanara

January 30, 2014, 12:43 pm
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Serena Fanara



STUDIES

2009/2011
Ecole de Beaux Arts de Rouen / Accademia di Belle Arti di Palermo

2005/2009
Accademia di Belle Arti di Palermo

2001/2005
Istituto Statale d’Arte G.Bonachia, Sciacca
Location
Palermo, Sicily, Italy


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Peter Buechler

January 30, 2014, 1:12 pm
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Peter Buechler


1965
Born in Celle, Lower Saxony, Germany
Lives and works in Berlin, Germany

since 1986
Independent artist











Peter Buechler


"His pictures are complicated. In the paintings from his new series of works, Peter Buechler delivers both the old familiar material and strange stuff, things that we are at home with and disturbing elements. The artist packages his motifs in large formats that sometimes reach complete abstraction, dividing them up into grids consisting of small, regular fields of color. From what distance, in what resolution should we look at them? Even in his choice of optimum viewing distance and sharpness of focus the viewer is faced with an almost impossible task. The solution, as with any good painting, is: to stand in front of the painted pictures and not to trust the illustration from the catalogue or an image on a computer screen. It would indeed be easy to come to a quick verdict with so many images all around us. What we see on the World Wide Web seldom affects us. A cataract for example. The keyword “Wasserfall” (waterfall) produces exactly 332,000 illustrations (under “Katarakt” (cataract) you do, by the way, initially come across some quite unappetizing photos of the illness involving the clouding of the optical lens) and under “Niagarafälle” (Niagara Falls) 80 hotels and still 17,400 pixel images come up.
Peter Buechler was once at Niagara Falls. Amongst his oil paintings produced since 2002 is, amongst other things, a 2 x 3 m picture of these vast, cascading waters (O.T. (Niagara), 2009), as they can be observed from the roaring abyss at Table Rock on the Canadian side. A snapshot was taken, a snapshot which, at the time, Buechler was unaware that he would one day be using to paint a picture from. It was winter. The light spots on the blackness of the picture come from snowflakes. It certainly would not stand out from the thousands of Niagara Falls pictures on the Net. Depending on resolution, it would be judged too out of focus, perhaps blurred and it appears to have been taken in weather conditions that are definitely too bad for a presentable Niagara Falls picture.
Our judgment of the painted picture is completely different. As soon as we come across it, its sheer size, its assertive singularity and its craftsman’s exactitude clamor out for attention. And this Niagara painting of Buechler’s is somehow hard to get out of our minds. We stand – rather than sitting – in front of it, stepping forwards, and then back again, trying to get close to it but to maintain our distance, only after some hesitation understanding the motif and feeling our way towards its structure. We can enter in upon a dialogue with the picture, an image that previously – in the pixel image to which it doubly refers– illustrates things with which we are all too familiar. Niagara Falls has been a tourist destination since 1800 and is one of the most frequently portrayed natural spectacles worldwide alongside famous mountains – Matterhorn, Mount Fuji, Vesuvius –, sunsets and rainbows.
The purpose of tourist’s souvenir pictures is both to document (“I was there!”) and to capture a breathtaking natural phenomenon. The value of a photograph is interlinked, as was the case with almost every published picture even 150 years ago, to the value and the size of the object portrayed. And as an illustration, it is necessarily inferior to the original (“In reality, it was much more breathtaking!”).
Not so the case in this painting by Buechler. The painter’s primary concern is not that lofty or expressive something, a motif or a formulation by the hand of a particular, distinctive artist. What is crucial for him is the double reference to endlessly produced and published reproductions by digital cameras and cellular telephones. All Buechler’s motifs are taken from the digital world. They can be landscapes such as Niagara Falls, views of towns, interiors, a door, a shelf that he has photographed himself, or illustrations found on the Internet, such as open-heart surgery or pornographic images of women. Here, what disturbs is the banal: the artist chooses these images from the innumerable possibilities and subject them to a transformation, using an exacting and time-consuming painting process that wrests their arbitrary, everyday quality from them. The process brings their potential, so to speak, to light in actu, producing unique, singular images that are simply calling out for attention.
The process of declaring photographic material found by chance worthy of making a picture, thereby transforming it into something unique – the original is admittedly alienated (enlarged, fogged), but it remains recognizable as a point of reference – is reminiscent of Gerhard Richter’s oil grisailles dating from the 1960s and 1970s, portraits by Chuck Close and Thomas Ruff’s photographic treatment of pornographic images from the Internet, work to be found since the early days of the 21st century. Buechler’s translation has chosen another route, the second reference to the digitally illustrated world: dividing up the surface of the image and the motif into grids consisting of rectangular fields, each with its own color value. This, too, is reminiscent of Gerhard Richter – although the latter, still operating in the analogue age, produced compositions consisting of fields of purely abstract color. His paintings neither had digital models nor did they portray concrete objects.
On the contrary, Peter Buechler’s abstractions should be categorized as attempts at getting close to the figurative, to the question of what importance can still be attached to painting today as a portrayal of reality. Buechler’s first artistic solutions date from 2001 when he began painting over oil portraits he had acquired on eBay: the artist produced an illusionist painting superimposing the trunk of a birch tree on a copy of a Franz Hals and adding the ironic logotype New York. He also painted grids over the face of a naive portrait of a front soldier for the first time; the colors for these grids derived from the original located beneath them. Later, these grids came to fill the entire canvas.
Buechler divided up the 6 qm canvas of Niagara into over 3000 rectangular fields onto which he transferred the colors produced on the computer, by hand with a paintbrush in the manner of an old master, field by field. What he thus produced looked, at first glance, like a giant, blurred copy of a digitally produced picture where the object’s every contour and sharp outline – in other words, its graphic quality – has been removed. A paradox, but one with which we have now reached the very core of Peter Buechler’s work: it is precisely the geometrically exact matrix of his pictures – in other words, the graphic quality of their arrangement that lends them their picturesque quality.
In terms of the aesthetics of the pictures’ reception: as he stands in front of the picture, the viewer is forced into something which would hardly be the case when faced with a digital image. He needs to come to terms with the oscillation between the object itself and its appearance within the media. A process that cannot lead to a conclusion. Moving about in front of the image, the viewer is only slowly able to balance the image he sees in his imagination with the one he sees in actual fact, although he can never get them to coincide. He works, struggling between what he believes he sees, what he wants to see and what is actually there to be seen, finally, surrendering to the inevitable, and for instance, getting lost in the boulevard which appears to stretch out into infinity, no longer asking whether this is meant to be Washington, Paris or Berlin, or even somewhere on the moon, and forgetting the question of whether a sunset was ever so beautiful in Caspar David Friedrich or on Majorca.
It is in this exchange, as – if you would like to put it that way – highly charged as it is, where an active role is demanded of everybody, that the quality of Peter Buechler’s painting is to be found."


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Chris Rush

January 30, 2014, 2:27 pm
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Jingzhe Huang

January 31, 2014, 6:07 am
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Jingzhe Huang


1972 Born in Jilin Province
1995 Graduated from Fine Arts Department of Yanbian University China
1998 Art Expo China
2001 – 2009 Participated in various forms of development Songzhuang, Beijing
2007 Personal exhibition in (Beijing Hole Gallery)
2007 Rainbow Beach Art Exhibition

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Salvador Fuster

January 31, 2014, 6:24 am
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Salvador Fuster

Salvador Fuster Vercher. -Pintor nacido en Alcoy 1966.
Salvador Fuster es hijo del pintorRafael Fuster de él heredó su gran maestría en el dibujo y el color.
Salvador Fuster Es un pintor que al igual que su progenitor, domina todas las técnicas de pintura, y está considerado uno de los mejores retratistas del panorama artístico actual.
Su pintura esta presente en gran parte de las mejores colecciones de pintura de Europa y América e incluso la lejana Australia cuenta con retratos y obra de este gran artista.



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William Oxer

January 31, 2014, 7:36 am
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William Oxer




I have been painting professionally for over 25 years, undertaking regular portrait commissions for private clients and producing artworks for art gallery exhibitions. I work mainly with acrylic paints on canvas.

My style can be immediately recognised as romantic and traditional. However, it increasingly carries hidden meaning and complex allusions to mythology, philosophy, or classical and religious iconography. My paintings employ subtle allusions and themes such as 'perfect love' and the notion of passion as expressed in tales such as Troilus and Cressida and Romeo and Juliet.

Previous engagements include creating large-scale painted designs for interior projects in historic houses such as Goodwood House, Buckingham Palace, Petworth House and Hatchlands Park. I have also undertaken many varied projects including period decoration and exhibition design in such places as Christies, St James (William Beckford Exhibition) and the Building of Bath Museum.


At Hatchlands Park in Surrey, I worked with Alec Cobbe, restorer and interiors expert. The experience was something that defined how I wished to work. Living in a country house amongst historic keyboard instruments, producing hand-painted schemes for some of England's finest houses and surrounded by hundreds of beautiful paintings allowed me to think upon my own work, quietly and studiously, in an environment that promoted beauty and rigorous thought.

"William Oxer is not merely a painter; he is a distinctive sensibility, with a poetic vision he explores in many media. His art is affirmative, evocative and forgiving..'. He states that the work 'offers us, in short, a return to the true and serious tradition." Professor Roger Scruton

"William Oxer's paintings represent a strikingly fresh current in contemporary art. His work is experimental, and he is also willing to take on larger themes as well as demonstrating a delight in detail and minutiae. Very few contemporary artists paint so consistently well." Dr David Morley, University of Warwick

















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