Patricia Volk

March 1, 2013, 1:24 am

"For the last fifteen years I have been more or less immersed in creating heads; flawed heroes, empowered virgins, or pensive deities, icon like but with iconoclastic human frailties. I felt they were the ideal vessels for conveying humanity through the material, but they were also my comfort zone. Now I've made a complete departure.

Though my heads were always symbolic and semi-abstract, I wanted to find out what happened if I disposed of the figurative, literal element and concentrated simply on the basic forms and lines I'd grown to love.

What I have discovered is a fascination with how one line or form has an effect upon another next to it. The juxtapositions of shape and colour create wonderful contradictions of power and fragility, stability and precariousness, their tentative proximities, frictions and “rubbing against each other” reflecting the relationships between human beings; the awkward but beautiful partnership between the strong and the weak, the delicate and the robust, creating sometimes a balanced structure that seems as if it might topple, but keeps standing. Just as in life.

The old adage is to “Do one scary thing every day.” Departing from heads (my old friends) was not easy, but I am excited that these new abstract forms are still essentially “me”. And have set me free."

Patricia Volk

Professional member, Craft Potters Association

prizes

ING "Discerning Eye" Exhibition, Mall Gallery, London - Regional Winner

2007

BANA (Bath Area Network for Artists)

- voted favourite piece by Mauger Gallery

Shortlsted for the 'Brian Mercer Bronze Casting Residency' by the Royal British Society of Sculptors

2008

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Marie-France Guarneri

March 1, 2013, 1:36 am

≫ Next: Claudia Alvarez

≪ Previous: Patricia Volk

Resume

When I was 13, in 1980, I won the “La Plume d’Emeraude” literary award.

The competition was introduced in schools by the French and Irish Ministries of Culture, in partnership with the Irish airline, Aer Lingus.

The competition theme was “Knowing Ireland”, and the award winner was selected based on their design and writing skills.

With my successive experiences at the Ateliers de la Mairie de Paris, where I apprenticed sculpture during 2 years (1987 – 1989), and at the CETCEC school and AFEDAP training center, where I had courses in applied arts (1996 - 1998), I created puppets and movie sets for 2 animation film projects (Lardux Films/Arte/ Canal+).

In 1999, I joined the budding Atelier Prométhée, a workshop specializing in the reproduction of sculptures from the 18th and 19th centuries, that has contracted with the French national museums.

Made of exciting discoveries and experiments, my following 10 years were then dedicated to manufacturing sculptures from various materials: from terra cotta (with old moulds) to plaster and elastomer from the Ateliers du Louvre and Atelier Fernandez workshops. With time, I learnt and improved complex modeling, stamping and retouching techniques, as well as work with old patinas (collection available for sale at the Louvre Museum store).

All those rich experiences have made me feel humble and filled with admiration and respect for the work of the old generations of ceramists, moulders and craftsmen using clay.

Songwriter, poetess and screenwriter (attended Claude Lemesle’s and Anne Huet’s writing workshops from 1987 to 1990 and from 2006 to 2007, respectively), I had a training in animation movies in Valence in 2009.

In 2010, I developed my sculpture business, putting my experience as well as volume, imagination and history into my emotion-filled and seemingly animated characters.

I brought my masterpieces to some art markets, fairs and galleries.

But my favorite places for exhibition are in the outside, ie. river banks, parks, gardens, climbing spots.

Since November 2011, I have been cooperating with Marie Legras, a ceramic artist. After jointly creating the artist collective "Un petit coin de terre" (a little piece of earth), we are now exhibiting our pieces at the L’Atelier de Marie Legras (Marie Legras’s workshop) gallery, located in the old pedestrian city center of Valence, where we are used to quarterly inviting a ceramist to show their works.

My workshop is located at the sun’s gate, in the South of France, and sits very close to the Drôme provençale. Nested between the Vercors and the mountain ridges named Les trois becs and Roche Colombe, it lies near the river Drôme, in an environment of water… and stone.

Inspiration and techniques

Both my imagination and passion for clay help me get the most out of the techniques I have learned.

I am always challenging myself, in the constant respect of clay and its limitations.

This contrast is a stimulation and makes me believe that creation has no limit: from running, walking, or even dancing stones, to flying fishes… all filled with lightness and movement.

All my sculptures are unique pieces. They are made of terra cotta without any reinforcement, and fired at 1,300 degrees.

I am using several techniques, ie. sheer modeling for the biggest pieces versus stamping for my smaller stone characters (using self-made plaster moulds). Legs are being shaped separately, then appended to complete the pieces.

To use patina (with lime, milk, wax, enamel or engobe) or not to use patina (raw clay fired in a reducing atmosphere)… Whatever the choice, my work is done in full harmony with the created pieces, telling the story around the sculpture.

The choice of stones is very important : I take much care in selecting them based on their differences in colour, shape and relief. The choice may also highly depend on my feelings when wandering around or searching out – mostly in the "départements" of Drôme and Ardèche, on climbing spots, river banks and in river beds. But most of the stones come from the river Drôme or were found near my workshop, on construction sites where they are being collected before use (ie. drainage to retention basin, crushing for buildings).

It’s a bit like a rescue for the stones, and they are worth it! They stir up emotions in me and bring me a very positive energy, that I am passing down to their faces, positions and movement.

Sculptures en forme de cailloux, de poissons volants ou de poésies...

Alliant mon travail de sculpteur à celui d'auteur (chansons, poèmes, scenarii film d'animation),

je veux croire qu'avec l'imaginaire on peut alors tout faire:

Des poissons qui volent, qui marchent, des cailloux qui courent, qui dansent...

Repoussant les techniques acquises de la terre toujours plus loin, j'aime donner la sensation du mouvement.

Mes sculptures sont des pièces uniques, réalisées en grès et cuites entre 1260 et 1300°, leur conférant une grande solidité, ainsi qu'une résistance au gel.

La patine (chaux, au lait, cire, émail, engobe) ou l'absence de patine (terre brute cuisson en réduction), réalisée en adéquation avec la pièce, constitue l'enveloppe narrative de la sculpture.

Une Petite Bio

Après une formation en Arts Appliqués (Paris 19ème) je travaille à la fabrication de marionnettes et décors, sur deux projets de films d’animation de Lardux Films (Arte/Canal+) : "Tous les I de Paris" De Guillaume Casset et "Le monde selon Glup" de Fred Mercier.

Puis j’intègre la petite équipe de l’Atelier Prométhée, Fournisseur Musées nationaux, un atelier de reproduction de sculptures des 18ème et 19ème siècles, alors encore à ses débuts.

Durant ces dix années de découvertes et d’expérimentation : Fabrication de sculptures en grès à partir d’un stock de moules (à pièces en plâtre et élastomère), j’ai appris et enrichis, au fil du temps, des techniques complexes de modelage, d’estampage, de retouche ainsi que le travail de patines anciennes (Boutique du Musée du Louvre).

Auteur de chansons, poèmes et scénarii (Ateliers d'écriture de Claude Lemesle de 1987 à 1990 et d'Anne Huet en 2006), je suis, en 2009, une formation en séquences animées avec L'Equipée à Valence.

En 2010, comme une continuité à mon travail d’auteur, je développe mon activité de sculpteur alliant le volume à l’histoire, mon expérience de la terre au personnage animé….d’émotion.

Le mot de la fin ou au tout début il y avait une petite fille qui ...

A 13 ans, en classe de 4ème, je gagne malgré moi (j'avais déjà prévue mes vacances en colo, entre copines, ont voulaient faire du cheval à Uzès!!!) le concours de "La Plume d'Emeraude".

Ce concours organisé par Aer Lingus et les Ministères de la Culture Irlandaise et Française, récompensait un élève par classe de la 5ème à Hippocagne d'un séjour en Irlande et portait sur la connaissance de l'Irlande et de sa culture.

Il s'agissait pour les 4ème de faire une carte de l'Irlande et un texte en anglais !

A ce moment de ma vie, difficile d'imaginer ou d'envisager que ma vie serait rythmée par l'écriture et les arts plastiques.

A 10 ans, mes parents sont convoqués par ma maitresse de CM2 qui leur annonce que je devais redoubler

car elle n'arrive pas à capter mon attention, disant "Marie-France on ne sait pas ou elle est !!!! Les yeux grands ouverts on pourrait croire qu'elle est avec nous mais non, elle rêve, elle est dans la lune !!!!"

Bilingue Franco italienne, j'ai longtemps imaginé des choses souvent différentes des mots que j'entendais...une interprétation d'enfant !

En français comme en italien!

L'idée d'être dans la lune me plût; je compris bien plus tard alors pourquoi il était normal qu'au lieu de voir un tableau noir rempli de phrases de grammaire comme tous les autres enfants, moi j'imaginais des formes, des dessins, avec les espaces formés entres les mots écrits à la craie !!!!

Comme j'aimais la grammaire !!!!

C'est ainsi que les mots ont pris une importance pour moi, selon leur taille et la façon dont ils se plaçaient dans les phrases, pour exprimer des tas de choses, à l'infini et fabriquer de jolis dessins !!!!

Mon deuxième CM2 a été un de mes meilleurs souvenirs d'école : Cette maitresse m'a mise en avant dans la classe en accrochant mes dessins qu'elle appréciait beaucoup !!!

Et m'a fait une petite place sur les bancs de l'école, et de la vie.

Toute petite, à l'age ou l'on commence à parler et à se raconter des histoires, j'aimais descendre à la cave avec ma maman, où elle faisait sécher le linge lorsqu'il gelait dehors; je m'asseyais par terre et m'inventais des aventures entre les poissons et les cailloux du carrelage!

Ce carrelage j'ai finit par l'oublier, jusqu'au jour où j'ai dû ranger la cave de la maison familiale!

Je vous laisse apprécier les motifs que j'ai redécouvert il y a quelques mois!

Quelle belle surprise !!!!

↧

Claudia Alvarez

March 1, 2013, 2:03 am

≫ Next: Hilda Soyer

≪ Previous: Marie-France Guarneri

"I'm influenced by the characteristics of children. Their actions pose questions simply yet poignantly about complex issues in the world today. A child's viewpoint is innocent of cultural conventions. Their eyes and comments reveal to us just how corrupt social mechanisms are."

Claudia Alvarez (Mexican-American, b. 1969) is best known for her ceramic sculptures and paintings of children. She focuses much of her work on themes addressing fear, hate, vulnerability, compassion, and tolerance. She uses images of children as reflection of human conduct, ethics, belief system, culture, race, tradition, assimilation, and displacement.

Alvarez was born in Monterrey, Mexico. She immigrated with her family in 1972 at the age of three to the United States. She spent most of her childhood in Lodi and Sacramento, California. She now lives and works in New York City and Omaha, Nebraska. She attended the University of California, Davis (BFA 1999) and California College of Arts, San Francisco (MFA 2003). Her work has been exhibited in the United States, Canada, Europe, and Mexico.

Recent solo exhibitions include Girls with Guns, Scott White Contemporary Art, La Jolla, California, Falling, Museum of Nebraska Art, Kearney, Nebraska, Silencio de Agua, Museo de Arte Contemporaneo de Yucatan, Merida, Mexico, American Heroes, Blue Leaf Gallery, Dublin, Ireland, Cosas de un Niño, El Museo Latino, Omaha, Nebraska, History of Immigration, Metropolitan Community College, Omaha, Nebraska.

Her work has appeared in New American Paintings, The Irish Times, Art Pulse, NY Arts Magazine, Review Magazine, Ceramics Monthly and Confrontational Ceramics. Collections include National Museum of Mexican Art, Chicago, Museo de Arte Contemporaneo de Yucatan, Merida, Mexico, Sheldon Museum of Art, Lincoln, Nebraska, El Museo Latino, Omaha, Nebraska, and Whitespace: The Mordes Collection West Palm Beach, Florida.

Claudia Alvarez

Born: 1969, Monterrey, Nuevo Leon, Mexico. Lives and works in New York City

Education
2003 California College of Arts, Oakland/San Francisco, California MFA
1999 University of California Davis, Davis, California BA

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Hilda Soyer

March 1, 2013, 4:00 am

≫ Next: Laurent Sébès

≪ Previous: Claudia Alvarez

Déjà enfant, inspirée par ma mère et ma grand-mère elles-mêmes artistes, le monde de la création était une attirance... Au fur et à mesure de mon existence, il est devenu une évidence, une nécessité.

De cet enchantement est née mon envie de modeler, sculpter les personnages de mon imaginaire. La terre me permet ainsi de leur donner vie.

Avec le RAKU, les cuissons sont une aventure, une découverte. L’apparition des fissures et les couleurs développées par les oxydes sont, à chaque fois, une surprise où le hasard tient une grande place.

Grâce au RAKU, mes pièces prennent vie, avec la part de hasard et de magie à l'origine de toute naissance.

HILDA

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Laurent Sébès

March 1, 2013, 4:22 am

≫ Next: Emilio Patrizio

≪ Previous: Hilda Soyer

Artiste baroque ?

Oui car la couleur et le volume ont toujours été associés dans mon travail. Plus précisément, nouveau baroque si l’on veut souligner par là que mon travail n’est pas sans rigueur.

Sculptures, peintures, objets...

Après une première période formelle, foisonnante et richement colorée, ma sculpture s’est adjoint la présence signifiante de la figuration et rapidement la confrontation avec le récit et la narration.

Je pratique également et en permanence la peinture d’atelier, le dessin, l’aquarelle sur le motif et j’ai abordé à plusieurs reprises la gravure.

Depuis une dizaine d’années je me confronte à la création d’objets. A l’encontre du design et de ses préoccupations industrielles, je réalise un ensemble d’objets d’artiste. Certains sont des objets uniques, d’autres sont éditables. Ils répondent tous à mon travail de sculpteur. Je reste cependant soucieux de leur fonctionnalité, soucieux de faire des objets à vivre comme je l’ai appris dans mes années de formation à l’école Boulle.

OBJECTS

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Emilio Patrizio

March 1, 2013, 7:09 am

≫ Next: Jamil Naqsh

≪ Previous: Laurent Sébès

EMILIO PATRIZIO

Nasce nel ’50 a Pescara; fotografo prima, poi grafico pubblicitario e illustratore, arriva alla pittura alla fine degli anni ’80. Mostre personali al Palazzo Sirena di Francavilla al Mare, al Palazzo d’Avalos di Vasto, al Palazzo dell’arte di Foggia, alla galleria "Diapason" di Napoli, a Montone, a Guardiagrele. Partecipa a diverse collettive tra le quali il Premio Salvi a Palazzo Oliva in Sassoferrato dove vince il trofeo Sassoferrato; su invito ha partecipato, nel ’91, alla rassegna "Memorie della terra natìa", nel ’92 è invitato alla rassegna "Giovane espansione-arte Abruzzo-Marche al Palazzo dei convegni di Jesi, ha partecipato alla Biennale del piccolo formato (galleria "Il Campo" di Campomarino e Palazzo Farnese ad Ortona), è stato invitato alla Prima Rassegna di Arte Contemporanea a S.Salvo, alla rassegna "Linee di Ricerca" nella Sala Bramante di Fermignano. Altre collettive ad Arona, Napoli, Torre del Greco.

Nel 1996 è stato invitato alla XXIII Rassegna Internazionale D’Arte Contemporanea Premio Sulmona, a novembre è chiamato per la rassegna d’arte nazionale "Riscontri", alla mostra "Contemporaneità della memoria". Partecipa al "Premio Michetti" e alla collettiva "XXIV Premio Internazionale Valle Roveto". E' stato invitato ad esporre in una mostra personale, nel Febbraio '99 dall'Università "D'Annunzio" presso la Facoltà di Architettura; ad Aprile partecipa alla collettiva "Artigeniale" presso il Museo Michetti. Partecipa ad una mostra itinerante su invito della Società Dante alighieri, espone, nella primavera del duemila al foyer del teatro Fenaroli di Lanciano, è chiamato ad esporre nella collettiva sui pittori abruzzesi del novecento presso il Mumi. E’ stato scelto per esporre al Museo della grafica di Castel di Ieri, alla collettiva “Pueri et magistri”, ha esposto a Rivisondoli in una personale a tema :”Incontri” . Un suo quadro è entrato nella collezione della pinacoteca al castello Camporanesi, è stato pubblicato nel volume “Pittori italiani del Novecento”. A palazzo Farnese di Ortona è stato invitato alla mostra “Umani – Continuità e fratture” nel luglio del 2004. Partecipa alla collettiva “Solidarietà in arte a Palazzo Ducale di Atri nel giugno 2011, è stato invitato al Museo delle genti d’Abruzzo in occasione dei 150 anni dell’Unità d’Italia in una collettiva a tema. È stato pubblicato dal mensile “Buono e bello” in copertina e, in monografia, dalla rivista “Abruzzo Impresa”. E’ presente, ad ottobre 2011 a palazzo Danelli, a Pescara, per la mostra “L’ARTE E LE SUE RICERCHE”. Su invito ha esposto in “HIEROS”, al Museo Michetti nel febbraio 2012. .Nella sezione fuori concorso è stato invitato ad esporre, nell’aprile 2012 al Palazzo Farnese di Ortona nell’ambito del LVI edizione del PREMIO NAZIONALE D'ARTE CONTEMPORANEA "BASILIO CASCELLA". Nel maggio 2012 è presente a “PESCARAT 2012” a cura di Gian Ruggero Manzoni dal 19 Maggio al 10 Giugno 2012 presso il Museo d'Arte Contemporanea "VITTORIA COLONNA " di Pescara. Partecipa alla rassegna di arte contemporanea "L'arte della pesca" al convento della Maddalena di Castel di Sangro con l'opera: "ANCHE IL PESCE NON E' PIU' QUELLO DI UNA VOLTA" olio su tavola cm 28x40. Emilio patrizio sarà presente alla Mostra di arti visive: “VAGITI ULTIMI” presso Scuderie Ducali del palazzo dei Duchi D'Acquaviva – ATRI (Te) dal 1 Settembre al 15 Settembre 2012 con il quadro: CALMA PIATTA" olio su tela cm 80x150. Emilio Patrizio parteciperà alla Biennale di Pittura Murale "CASOLI PINTA - museo sotto le stelle" IV edizione- 2012- presso il Palazzo Ducale - cisterna romana- dal 7 al 27 luglio 2012. Ha interessato critici quali Giuffré, Guida, Rosato, Baitello, Sgarbi, Strozzieri, Russo, Di Leo, Iannone. E’ pubblicato in Italia e all’estero da riviste e cataloghi d’arte; è presente su "Selection Art and Word".

Vive e lavora a Francavilla al Mare con studio in piazza S. Franco.

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Jamil Naqsh

March 1, 2013, 8:40 am

≫ Next: Danka Jaworska

≪ Previous: Emilio Patrizio

Born in Kairana, UP, in 1939, Jamil Naqsh grew up in a home where artists, writers, poets, musicians, zamindars and politicians often gathered. His father, a zamindar, wrote books on topics including tib and nafsiyat and illustrated his work in the miniature style. This stimulating environment left an indelible mark on the mind of the young Jamil Naqsh, and encouraged to paint, he soon chose his vocation.

A simple man at heart, Jamil Naqsh lives surrounded by plants and greenery, birds and other pets, paintings and artefacts. A very eastern man, Jamil Naqsh never lost sight of his roots. Sitting on the floor, recounting anecdotes, and relating experiences of his childhood, he is a sensitive man totally absorbed in his work, and yet completely aware of all that is happening in the world of today. Bridging both worlds with no seeming contradiction, he is both a modern expressionist and a traditional miniaturist.

Retiring by nature, Jamil Naqsh found that balancing the demands and pressures of society, and his work, upset his equilibrium, and detracted from his lifeline — his art. He has risen above the dilemma, and made a fundamental decision: painting at times for upto 18 hours a day, Jamil Naqsh has chosen his work. This decision has earned him the reputation of being a recluse — but, recluse or not, he has acquired an important niche in the sphere of art today.

Painting for the past 38 years, Jamil Naqsh has handled a vast variety of themes including land and seascapes. Later, over thp years, he gravitated towards his four preferred themes: prajna paramita, horses, nudes and pigeons. As with most artists, Jamil Naqsh faced by his mortality, sought to leave a mark on posterity by bequeathing to it all that he loves and finds beautiful. So, by ‘capturing’ beauty, and making it his partner through life and the after-life, he has transcended his mortality and finiteness. Being a romantic, he was greatly influenced by the story of the love-stricken Sadhu, who unable to possess the object of his-devotion and love, immortalized her by modeling her as his goddess and taking her away to Tibet with him. Only by making her his ‘devi’ was he able to break free of man-made barriers and restrictions, and possess her for all time. So, too Jamil Naqsh strives to ‘possess’ all that he finds beautiful, and immortalizes what he loves.

His mastery over his art — his detailing with line and texture and composition and forms — and handling of his subject, are all executed as one would a miniature, with meticulous detail, but with no drawing. His training under the tutelage of Ustad Mohammad Sharif, has proved invaluable to his work, and beginning with miniatures, he grew and matured, executing his techniques with greater confidence and skill. He revels in the stretching of all rules — breaking, moulding, reforming and recreating. Some of his works are the result of strict discipline that only this art form can give to the disciple. Yet, always at the beginning is the skill of a miniaturist, and much of his work defies the viewer to pick up a magnifying glass.

Equally comfortable with water arid oils, he uses both mediums with no preference. With supreme control over his medium and the pigments he uses, in the end, neither is the medium of any importance, nor the material used. All that remains is the skill of composition, the form, the line and the texture. His grounding in miniature, and his roots in the sub-continent, his family’s love of the arts have made him what he is today.

Jamil Naqsh’s initial work was with a view to proving his dexterity and skill to the world. As he has matured, and mellowed with age and experience, he finds that he longer needs to prove to others. He is his own judge. Having freed himself from these self-imposed restrictions, he is happier and more daring in his ventures, executing more and more, stretching the limits to the outermost extent, executing his work with great skill. In this context of his career, the current stage of his life is an extremely prolific period. Like one possessed, Jamil Naqsh begins a piece, completes it, and moves on to another without break. He is working in a frenzy, as if racing against time to do and say all that he has to. His eternal quest and diversity will ensure that the evolution will continue as long as he paints.

Like his doves, Jamil Naqsh freely flies the skies — free of man-made norms, following the dictates of his spirit.

TYABA HABIB 1996

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Danka Jaworska

March 1, 2013, 9:44 am

≫ Next: Natalie Richy

≪ Previous: Jamil Naqsh

Born in Warsaw , Poland
Lives in Stockholm , Sweden

Art Gymnasium / Warsaw , Poland
Art Academy / Warsaw , Poland
Ecole Nationale Superieur des Atrs Decoratifs ENSAD / Paris, France
and has achieved Deutsche Akademische Austausch Dienst DAAD from Atelierhaus Worpswede , Germany

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Natalie Richy

March 1, 2013, 10:41 am

≫ Next: Renato Ferrari

≪ Previous: Danka Jaworska

Natalie Richy is Russian artist, born in Belarus, grown and educated in Latvia, living and working in London, UK.

Natalie is a professional figurative Fine Artist and a co-founder and tutor of the Web Art Academy

Natalie has participated in more than 30 exhibitions around Europe.

Works are held in private collections in Latvia, UK, USA, France, Russia, Lithuania, Denmark and Switzerland.

Education:

2000-2004: BA Hons, Painting, Latvian Academy of Art

2004-2007: Master Degree, Figurative painting, Latvian Academy of Arts

Collections:

Works are held in private collections in Latvia, UK, USA, France, Russia, Lithuania, Denmark and Switzerland

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Renato Ferrari

March 1, 2013, 12:35 pm

≫ Next: Patrick Palmer

≪ Previous: Natalie Richy

Renato Ferrari was born in 1954 in Rio de Janeiro, Brazil. In 1973 he went to United States, in Washington, D.C. for two and a half years, where he takes drawing and painting classes at Montgomery College, Maryland. Return to Brazil in 1976 he studied at Escola de Belas-Artes for his BFA, and in 1985 he returns to USA, Baltimore, Maryland to study at Maryland Institute, Hoffberger School of Painting for his Master in Fine Arts.

Since 1987 Renato has dedicated himself to painting full-time and in 1997 he oppened the first school of realistic art in Rio de Janeiro.

Academic Studies.

1974-75 Montgomery College, Maryland, USA- Desenho e Pintura.

1976-80 Escola de Belas artes, UFRJ, Bacharel em Pintura.

1985-87 Maryland Institute, Hoffberger School of Painting,

Maryland, USA, Mestrado em Pintura.

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Patrick Palmer

March 1, 2013, 1:07 pm

≫ Next: Robin Purcell

≪ Previous: Renato Ferrari

Background and Training

I was trained at Heatherley's School of Art (Chelsea) and at The National College of Art and Design (Dublin).

I have also been lucky enough to have been given extensive personal tuition by a close friend of Francis Bacon and by a senior lecturer at The Royal Academy. I now teach life-drawing at The Fire-Station Arts Centre in Windsor.

Biography

Background and Training

I was trained at Heatherley's School of Art (Chelsea) and at The National College of Art and Design (Dublin).

Influences

Degas is probably my biggest influence for the beauty of his work and his extraordinary use and understanding of colour. My favourite artwork is his 'Frieze of Dancers'.

I also admire these:

Rembrandt for his tone and mood.

Toulouse Lautrec for the quality of his drawings.

David A Leffel for his still lifes.

JW Waterhouse for everything.

Statement

Whilst an element of realism is important, I try to move beyond artistic convention and avoid an image that is too predictable. Realism is not enough - what you take away and what you add to what you see are what transform a picture into art.

I believe that the viewer wants to see a degree of draughtsmanship from an artist but they deserve more than this. I aspire to make my pictures to touch people personally and to be considered works of beauty.

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Robin Purcell

March 1, 2013, 2:00 pm

≫ Next: Rogério Timóteo

≪ Previous: Patrick Palmer

Plein air and studio painter living in California AWS,NWS, California Art Club Artist Member

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Rogério Timóteo

March 1, 2013, 2:46 pm

≫ Next: Jocelyne Saez-Simbola

≪ Previous: Robin Purcell

Born in 1967, in Anços, Sintra, Portugal. He began drawing and sculpture with Master Anjos Teixeira, studying in his studio for five years. In 1991, he took a course in new marble techniques in Vila Viçosa.

He has given solo exhibitions since 1993, having already 22, and participated in more than 100 collective exhibitions.

He is represented in various private and public collections in Portugal and abroad (Switzerland, France, Germany, USA, United Kingdom, Poland, Brazil and Spain). He has public work in various localities, namely in Sintra, Cascais, Linda-a-Velha, Carnaxide, Montelavar and Queluz.

Rogério Timóteo nasceu em Anços, concelho de Sintra, em 1967. De 1985 a 1989 é aluno de Mestre Anjos Teixeira. A partir de 1989 desenvolve trabalho individual. Em 1991 frequenta o Curso “Novas Tecnologias em Mármore” em Vila Viçosa. Posteriormente, frequenta o curso de desenho com modelo vivo na Sociedade de Belas Artes em Lisboa. Actualmente vive e trabalha no concelho de Sintra. Conta já com 23 exposições individuais e mais de 100 exposições colectivas. Encontra-se representado em colecções particulares em Portugal, Suíça, França, Alemanha, Inglaterra, Polónia, Brasil, Estados Unidos e Espanha.

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Jocelyne Saez-Simbola

March 2, 2013, 3:21 am

≫ Next: Ouka Fukui

≪ Previous: Rogério Timóteo

"Création d'un univers chimérique peuplé d'êtres imaginaires et de céramiques d'art.

Modelés avec la technique du colombin, à la plaque ou dans la masse, la cuisson Raku leur donne une deuxième peau avec un enfumage plus ou moins prononcé rehaussé de lustres posés avec parcimonie. "

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Ouka Fukui

March 2, 2013, 1:47 pm

≫ Next: Jorge Crespo Berdecio

≪ Previous: Jocelyne Saez-Simbola

Born in 1968 in Hiroshima Prefecture
1993 Graduated from Tama Art University - Graphic Design

1968　広島県に生まれる
1993　多摩美術大学グラフィックデザイン科卒業
1995　武蔵野美術大学大学院油絵科修了　修了制作優秀賞
　　　第71回会白日会展初出品　白日賞受賞
1996　明日の白日会展出品（以後毎年）
1997　スカラベニ人展　（銀座あかね画廊）'98年も
1998　第74回白日会展　準会員推挙
1999　第75回白日展　室町美術賞受賞
　　　白日会会員選抜展（日本橋三越以後毎年）
2000　初個展（銀座あかね画廊）
2001　第77回白日展　富田賞、東邦アート賞受賞　会員推挙
2002　個展（銀座あかね画廊）
2003　日展初出品　（以後毎年出品）
2004　個展（銀座あかね画廊）
　　　私立開成高校に作品寄贈
2005　個展（名古屋松坂屋本店）
2006　第82回白日会展　三洋美術奨励賞受賞　　個展（銀座光画廊）　
　　　第38回日展　特選受賞　　個展（銀座あかね画廊）
2007　第83回白日会展　アートもりもと賞受賞　日展会友推挙
2008　個展（銀座アートもりもと）　個展（名古屋松坂屋本店）
2009　個展（渋谷東急本店）
2010　第42回日展　特選受賞　　個展（日本橋三越本店）
2011 個展(広島天満屋)
個展(福山天満屋)

（現在）白日会会員　日展委嘱

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Jorge Crespo Berdecio

March 2, 2013, 4:00 pm

≫ Next: Tanya Doskova

≪ Previous: Ouka Fukui

About

Bachiller en Artes Plásticas. Ha estudiado y trabajado como asistente en el Taller de Grabado en la Escuela de Artes Plásticas de la Universidad de Costa Rica bajo la dirección del MFA Rudy Espinoza, MFA Ronald Mills y el Prof. Hctor Burke. Se ha especializado en el área de Grabado llegando a dominar sus diversas técnicas, tales como xilografía, serigrafía, litografía, colografía y grabado en metal. Sus obras han sido publicadas en varias revistas y peridicos en Costa Rica y expuestas en Costa Rica, Estados Unidos, España, Perú, Méjico y Bolivia. Actualmente trabaja en su propio taller donde, aparte de proseguir con su obra personal, también imparte lecciones de grabado e imprime ediciones para artistas.

Nací en San Jos de Costa Rica el año 1957, de padres bolivianos.

Mi obra gira en torno a la migración como destino humano.El hecho de haber tenido padres bolivianos y haber pasado mi niez y juventud entre Venezuela, Bolivia y Costa Rica, hace que lo migratorio acompañe mi aventura de entender lo humano como un tránsito que no cesa. Y no solamente de un viaje que nos lleva de país en país, sino, también, de la probable condición que hace del arte de ser humanos un arte de transformación permanente.

En torno al concepto que intento elaborar, el inmigrante no sera únicamente el individuo que deja una supuesta patria(matria?) vinculante con la raíz, la originalidad, la autenticidad, la identidad y toda esa verdurita patológica y fantasmal del obsesivo, sino que el inmigrante sera, más bien, el resultado de una pérdida mucho más radical y emparentada con el deseo como condición de ser humanos. Pérdida que supondrá un des-alojamiento, una des-naturalización que funda nuestra entrada en la deriva de los signos. Deriva que nos convierte en nufragos marcados por las palabras, en seres profundamente textuados buscando, mas allá de ellas, la patria imposible. Parafraseando a Octavio Paz diría que nuestra condición es parte de una captura que nos condena a vagabundear entre el signo y el garabato. Cada cual con su imaginario y su letra. Personajes de una feria mostrando al mundo los fragmentos de su verdad. Como aquel personaje que cargaba un ladrillo a cuestas para mostrarle al mundo como era su casa.

Todos, de alguna forma, llevamos un ladrillo a cuestas. Para sonar, para hacer ruido, para que nos escuchen. Máscara viene del griego per-sonare, para sonar. Utilería que se usaba como megáfono en las representaciones de teatro al aire libre.

Talvez la máscara no oculta sino que revela, en el ruido confuso o articulado, una bitácora, una seal de tránsito, el perfil de un ser que dibuja con sus actos y palabras el garabato que hace de lo humano un maravilloso y milagroso disparate.

Sartre planteaba, en su obra Ser y nada, lo humano como un proyecto imposible. Lo imposible de ser-en-si y para-si. Lo humano como una pasión inútil.

Julia Kristeva resume lo psíquico de la siguiente manera."El psiquismo es un sistema conectado abierto a otro, y solo en estas condiciones es renovable. Si vive, nuestro psiquismo esta enamorado. Si no esta enamorado, esta muerto."

Talvez el arte no sea esa nueva y ridicula religión que comparten ciertos beatos ateos, sino la simple y cotidiana capacidad de vivir enamorados. Pareciera que solo en estas condiciones somos renovables, quiero decir, capaces de construir nuevas historias que sostengan el destino de nuestros huesos y pulsiones. Historias que respiran otras voces y se condensan o disuelven como actos multitudinarios para proteger a los que se han quedado solos, huérfanos, sin imágenes y sin palabras.

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Tanya Doskova

March 2, 2013, 4:31 pm

≫ Next: Joakim Johansson

≪ Previous: Jorge Crespo Berdecio

Tanya Doskova is an Award winning Painter, Printmaker and Illustrator living in Vancouver, BC Canada.

Image is everything. The image that tells a story transcends through time, space and technique.

BIOGRAPHY

Tanya Doskova is a Bulgarian-born, Canadian artist living in Vancouver, BC. She holds a Master of Arts degree in Printmaking. In 1990, Tanya moved from Sofia, Bulgaria to London, UK, where she had her work presented in more than 20 group exhibitions and was featured in three solo exhibitions in Soho.

In 1995 Tanya moved to Canada and in 1996 and 1997 she won five major Canadian Awards from the Canadian Association of Photographers and Illustrators (CAPIC).

From 1998 to 2002 she did computer animation and special effects for the film industry in London, UK and Vancouver, BC. Tanya worked in U2 and Ridley Scott's post- production house ‘The Mill’ and in Jim Henson’s Creature Shop in England, creating special effects for the Hollywood motion pictures: 'Enemy of the State', 'Babe 2', and 'Pitch Black'.

In 2010 Tanya Doskova won an Award of Excellence in The Communication Arts Illustration Annual Competition. This prestigious American award and the publication of her images in The Communication

Arts Magazine gave her worldwide exposure and recognition.

Selected Awards:

Communication Arts Illustration Anual 2010

Adobe Systems GOLDEN award CAPIC 97’

CANON Canada BRONZE award CAPIC 97’

Reader's Digest MERIT award CAPIC 97’

CANON Canada GOLDEN award CAPIC96’

CANON Canada MERIT award - CAPIC 96’

John Purcell Prize 95' BEST Lithography, UK

USA Art Shows Awards:

Featured Artist at Tempe Festival of the Arts - Fall 2011, Phoenix, AZ

First Place in New Media - The Beverly Hills Art Show. LA Fall 2011

Best in media award from the Tempe Festival of the Arts - Fall 2010

Featured Artist at 2010 Woodlands Art Festival, Houston, TX

The Fiesta Art Fair, San Antonio, TX - The 2010 Award for Creative Expression

Merit Award in Printmaking - La Quinta Arts Festival 2009

Featured Artist at 2009 Sausalito Art Festival, San Francisco.

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Joakim Johansson

March 2, 2013, 5:32 pm

≫ Next: Debora Calicchia

≪ Previous: Tanya Doskova

Joakim Johansson, born 1965 in Karlstad, Sweden I have been painting fulltime since -89,I paint in oil or acrylic

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Debora Calicchia

March 3, 2013, 3:28 am

≫ Next: Hendry Art - Steve Hendry

≪ Previous: Joakim Johansson

IMPRESSIONIST AND FIGURATIVE PAINTER

Pittrice impressionista e figurativa

Laureatasi all’Accademia dell’Illustrazione e Comunicazione Visiva di Roma, inizia il suo percorso artistico come illustratrice di libri per l’infanzia.

Ottiene consensi nel panorama editoriale e segnalazioni in concorsi vari. I suoi lavori denotano da subito uno stile più pittorico che illustrativo poiché alla tecnica rigorosa delle forme, a disegni “cartonati o pupazzati”, predilige pennellate “gestuali” e libere, che creano un’esplosione di colori e giochi di luce dall’impatto immediato e “rasserenante”. Pertanto l’inclinazione e l’estro la conducono e

avvicinano sempre di più alla pittura che si mostra più disposta ad accogliere la sua espressività artistica.

Inizia così, da autodidatta, con la sola risorsa del suo “dono”e un bagaglio artistico ancora acerbo, a cimentarsi nella pittura, ispirandosi a fonti per lei vitali che hanno radici nella corrente impressionista. Suo primo grande maestro del colore che studia con scrupolosa attenzione è Renoir, che resta punto di riferimento anche a seguire. La geniale mescolanza dei colori, la soavità e leggerezza del tratto tipica del “maestro” la spingono a sperimentare le diverse tecniche pittoriche, fino ad approdare a quella risolutiva ovvero la tecnica ad olio e spatola su cartone pressato.

Prende così vita il primo quadro e poi il secondo e via via i personaggi assumono forma e la osservano una volta ultimati. E quale sguardo può ricambiare bene se non quello sognante e puro di un bambino?

Sono loro i soggetti che le arrecano maggior soddisfazione una volta realizzati.

Forse per indole “fanciullesca”o forse per diletto si può dire che i bambini sono una costante per la sua fonte d’ispirazione.

Tuttavia,nonostante la tecnica ad olio le sia più congeniale, si rivela un’artista versatile che affronta le più variegate espressioni artistiche dipingendo quadri in stile etnico, figurativo, astratto adottando molteplici tecniche: acrilici, pastelli ad olio, gessi, carboncini e tecniche miste. Attualmente partecipa a varie mostre collettive nella capitale e vende i suoi quadri anche all’estero. Spera di essere riconosciuta e apprezzata da un pubblico sempre più ampio.

I'm graduated at the Illustraction Accademy in Rome in 2003.Since that time i've been aimed to become an Illustrator for children's books but it's a difficult way and i am doing the best to reach my purpose.

At present, i invest my time in painting following the Impressionism art period inspiration( Renoir,Monet,Lepage,Millet,Carpentier..etc)that i love so much.For painting i utilize the slice rather then the brush,a technic that many oil painters don't use.It's more difficult but the effect makes me glad and really satisfate me.

I'll make avaiable on web all my new paints in order than more people could see them.The congratulation that i received every days from people make me full of joy and enable me to work with happiness.

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Hendry Art - Steve Hendry

March 3, 2013, 3:47 am

≫ Next: Diane McLean

≪ Previous: Debora Calicchia

A selection of drawings and paintings by one of Britain's leading contemporary figurative artists.

Born in Scotland, Hendry graduated from Duncan of Jordanstone College of Art, Dundee with a BA (Hons) in Fine Art in 1996.

His ‘daring Bacon-esque figure studies’ have exhibited nationwide, grabbing the attention of critics, including W Gordon Smith and Ian Gale. His painting, ‘The New Seers’ achieved critical acclaim and won the Royal Glasgow Institute of Fine Art Solo Exhibition award. Hendry is popular amongst professionals and creatives. His work has featured on the single sleeve of Snow Patrol’s Velocity Girl and is collected by the likes of Sister Bliss (‘Faithless’).

beauty, fragilities and tensions of the human condition.

He is currently living in Scotland, specializing in contemporary figurative painting whilst researching and developing a continuing body of work.

Hendry’s deliberate and dynamic approach to his figure painting aims to challenge the viewer with a compelling intimacy and intensity. His work seeks to unsettle or console our perceptions and sensibilities and has at times a vicious impact that is hard to ignore. His life-sized figures foment extremes of emotion through reaction, rapture or repulsion and continue to provoke huge debate and discussion.

Beneath the work’s surface, Hendry deals with narratives that are concerned with our relationship to each other, new technology, media, society and our environment.

These underlying themes juxtapose the beauty, fragilities and tensions of the human condition.

He is currently living in Scotland, specializing in contemporary figurative painting whilst researching and developing a continuing body of work.

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