Ann Gleason

March 20, 2013, 7:05 am

Ann Gleason

Media: Clay

Clay can do almost anything- the only limits on working with this fascinating material are the number of creative brain cells left in my head! I started working with clay while an art major in college. Until then my artistic energies had largely been 2-D drawing-painting-print making and the like. But the physical-ness of working with clay and all it can potentially do hooked me completely and I've never looked back.

Education:

1984: MFA: Ceramics: University of Utah: Salt Lake City

1975 BA: ARt Studio : SUNY Potsdam

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Teresa Gironés

March 20, 2013, 7:35 am

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Teresa Gironés

Professora de l’escola Oficial de Disseny Llotja.

Vice-presidenta de l’Associació de Ceramistes de Catalunya, Barcelona, Espanya.

Mestre artesà ceramista, otorgat pel govern de la Generalitat de Catalunya, Espanya. Reconeixement al treball de mestre en aquesta especialitat.

Més de 200 exposicions arreu d'Espanya i del món, durant vint-i-cinc anys de professionalitat.

Obra en col·leccions públiques i privades.

Membre de l’Acadèmia Internacional de Ceràmica, Ginebra.

2003
1º Premi Cerámica Artística - Mora La Nova.

2001
1º Premi Cerámica Artística Quart - Girona.

1988
Vallourise (Selec).

1986
1º Premi Expohogar - Fira Internacional de Mostres - Barcelona.

1985
2º Premi Sala Clarà - Olot - Girona.

1984
1º Premi Disseny ExpoHogar - Fira Internacional de Mostres- Barcelona.
Premi Ceràmica Mora La Nova.

1983
Premi Fira de la Ceràmica - Concurs Nacional - Manises.

1982
1º Premi Ceràmica de la Bisbal - Girona.

1981
Premi Ciutat de Martorell- Barcelona.
1º Premi Concurs Nacional del Cantir - Argentona.

l980
Menció - Premi Ciutat de Palamós.
1º Premi Nacional Talavera de la Reina.

1979
1ºi 2º Premi Concurs Nacional del Cantir - Argentona.
1º Premi Ciutat de Martorell - Barcelona.

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William Catling

March 20, 2013, 8:04 am

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William Catling

William Catling, MFA, was born in San Francisco and grew up in the Bay Area. He decided at an early age that art was what he wanted to do for life. Catling taught high school for ten years and then moved to Southern California to begin teaching here at APU in 1991.

As an artist, he attempts to address the loss of our natural sense of being human, that is our deeply intuitive sense of ourselves. He believes we have become disconnected from the natural rhythms of life. The figures Catling makes are rough, cracked, aged, reflecting both suffering and the internal capacity to connect to others outside oneself. Such suffering can evoke the viewer's empathy and self-transcendence.

Viewers can embrace the condition of the figures thus engaging themselves in the process of reconnecting by joining in the transcendent element of the work. The work does not eliminate the body's suffering but presents it as a condition for spiritual uplift.

MFA, Sculpture, California State University, Fullerton

M.A., California State University, San Francisco

B.A., California State University, San Francisco

Reaching into the freshly cut trench, I pulled out a handful of purple-gray clay and began making a place setting for the scheduled afternoon tea. The sun was warm against my skin on this lazy summer day with a gentle breeze to move the grass and keep us cool. Seated on the ground nearby, my companions were busy shaping their own bowls, cups and teapots. Amid this collaborative adventure rose an aroma that kept our parents away and for which we dubbed the clay "sewer mud." And thus began a tradition that lasted many a summer day.

As you have probably guessed this was one of my early childhood experiences with the multifaceted material we call clay. This love for clay continued throughout my life, even when I studied to become a painter in my teenage years and while in college at San Francisco State University in the early 1970's.A couple of semesters into my Bachelor of Arts degree I enrolled in the required explorations in ceramics class with professor Joe Hawley. After a few weeks of work we all came proudly to our first critique. On the shelves was a smattering of mugs, bowls, vases and other bits of beginner's attempts at functional ceramics. We grew quiet as professor Hawley looked carefully at the display of ware; the silence seemed to last forever. He removes a hand from his chin and sweeping us with his gaze proceeded to ask, "What is all this 'stuff'?" Our mouths fell open in shock and he went on to tell us to go back out and create objects that meant something significant to us; something that challenged our understanding of the material and its limitations. I left the room, walked to the technician's office, bought 100 lbs of sculpture clay and went to work.That first piece of clay sculpture looked like a large, somewhat misshapen version of a "look into" Easter egg. It was the beginning of a life-long relationship with clay and shaping objects that carry significant personal meaning. The following semester I met the most significant person in my life as an artist. It was the term I was to take the explorations class in sculpture and the professor was Stephen DeStaebler. That class led me to later work as an apprentice for DeStaebler and in 1981 to enter the masters program in sculpture under DeStaebler's guidance.Many times l have asked myself what l learned from my time working with DeStaebler. The following phrases will be my first attempt to reduce a ten year experience into the confines of letters, words and punctuation. Clay is alive. The role of the artist is to work in tune with the life of the materials. The crack in the clay is a gift to be received. The kiln is like Christmas, always rich with gifts unexpected. Humanity is bound by a common spirit to be rejoiced with, mourned for and shared in. Advanced technology can be dangerous, to be handled with gloves, saving the skin for contact with things elemental in nature. The real work of the artist is always in the studio. Leave politics and activism to the politicians and the activists. Our art is the work of our lives. Don't spend too much time in galleries and museums, they can confuse your personal vision. Balance: stay healthy inside and out of the studio.

These are the thoughts I carry with me into the classroom as a professor at Azusa Pacific University in Southern California. They are also what comes to mind when I think of the years I spent mixing clay, moving 1,000 pound sculptures, transporting work and setting up shows for a man I deeply admire.My work has been impacted by very powerful figurative sculptors such DeSaebler, Giacometti, Buck, Neri and Olivera. I share with them the tradition of creating art of the human condition through the figure as a lifes work.

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Lisa Naples

March 20, 2013, 9:05 am

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When I was 17 I took a pottery class as a college freshman for ‘fun’. That was 1978. Even though I wouldn’t come to ‘know’ it in a conscious way for another 4 years, that simple exposure was enough to begin a lifelong relationship with this material: clay. From that moment on, I built my life and decisions around what was ‘next’ for me in ceramics.

Much of the traveling I’ve experienced has been in one way or another because of my career whether it was for teaching workshops or doing residencies or shows.

Now my life not only has ceramics at the center but a partner and kids too. I married my husband, Andy Cleff in 1991. He and I share the 2 story barn on our property in Doylestown, Bucks County, PA for our respective businesses. We share our lives with 2 amazing human beings, our daughters Isabel and Sophie.

I’ve always counted myself very fortunate to have found such a meaningful path that just about always seems to have arrows pointing me to the next direction…and to be so engaged and compelled by my chosen career. At this stage of the game, I have faith in the creative process to the point that even when I can’t see the direction ahead I know that if I can make space for play and practice, I’ll be fine. And I always am.

Islamic Ceramic Traditions, Symposium 2002

The Ceramics Program of the Office for the Arts at Harvard. Cambridge, MA

Master of Fine Arts Ceramics, 1986–1988

Nova Scotia College of Art and Design, Halifax, NS, Canada. Full Scholarship for graduate work

Post Graduate Study in Ceramics, 1984–1986

University of the Arts, Philadelphia, PA

Graduate Study Ceramics, 1983–1984

Rochester Institute of Technology, Rochester, NY

Full Summer Internship, Ceramics, 1982

Peters Valley, Layton, NJ

Bachelor of Arts, English Literature, 1982

Douglass College of Rutgers University, New Brunswick, NJ

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Suzie Zamit

March 20, 2013, 9:37 am

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Suzie Zamit

biography

The beauty of the human form is a constant inspiration - I find the expressive, malleable properties of terracotta make it the perfect medium ... There is something immensely satisfying, addictive and ancient in taking a lump of clay and 'breathing life' into it.

BIOGRAPHY

Suzie studied Fine Art Sculpture at City & Guilds of London Art School. She has been a member of the SOCIETY OF PORTRAIT SCULPTORS since 1999, and a council member since 2007. She exhibits at their annual Cork St, W1 show each May, and in 2010, at their critically acclaimed exhibiton in WINCHESTER CATHEDRAL - 'In a Sacred Place'.

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Li Xiangqun

March 20, 2013, 10:27 am

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Li Xiangqun

Professor&PhD Supervisor, Tsinghua University Academy of Art and Design

Member, Tsinghua University Academy of Art and Design Academic Committee

Representative, Beijing’s People’s Congress

Members of Curatorial Team of The 5th Beijing International Art Biennale, China, 2012

Vice-Chairman, Sculpture Committee, China Artists Association

Vice-Chairman, Sculpture College of China National Academy of Arts

Member, UK Society of Portrait Sculptors

National Publicity and Cultural “Four Talents” Award Winner

Winner of the Third National Virtuous and Skillful Arts Worker Title

Began working as teacher in Lu Xun Academy of Fine Arts and as professor in Central Acadamy of Fine Arts

1961 Born in Harbin, Heilongjiang

1982 Graduated from Lu Xun Academy of Fine Arts and stayed on as a professor

1990 Received master’s degree in sculpture from Lu Xun Academy of Fine Arts

1990 Began working at the Central Academy of Fine Arts Sculpture Research Institute

2000 Began working as a professor in the Sculpture Department of the Tsinghua

University Academy of Art and Design

Li Xiangqun as one of the concrete sculpture leaders in Chinese contemporary art field insists on integrating "new humanism" concept into his work with strong artistic appeal. His portrait characters bring people shock and moved; sculptures in his hand became records and continuance of history, showing the strength of artist thought. His representative works are as follows: Heaping Cloud & Snow, Red Star Over China, Mao Zedong in the sunshine, we are walking on the road and so on. Many works were collected by the National Art Gallery, Chinese Modern literature Museum, National Museum and International Olympic Committee. Some works won the special and the first prize in the third and fourth session of National Sports Arts Exhibition; some won the honorable mention in second National City Sculpture Exhibition, the eighth National Fine Arts Exhibition and New China Sculpture contribution Achievement Award; British Portrait Statues Annual Exhibition Freakley best prize, Pangolin prize. At the same time of art creation, Li Xiangqun has insisted on teaching career for more than 30 years, cultivating a large number of artistic students and making continuation for Chinese sculpture continuance.

Li Xiangqun as representative of people's congress has submitted a bill named to protect an old industrial building heritage, a growing culture area which has made a contribution for 798 cultural and creative industries retaining and development. He focused on the protection of cultural heritage and present proposals; involved in designing the national gifts; donated sculpture to education institution. He has participated in public welfare actively and donated auction profits to charity.

Awards

2011 Freakely Prize / FACE2011: The Annual Exhibition of the Society of Portrait Sculptors/

London, UK

2011 National Publicity and Cultural “Four Talents” Award Winner / Beijing, China

2011 National Virtuous and Skilled Art Worker / Beijing, China

2009 Achievement Award / New China Urban Sculpture / Beijing, China

2009 Award for Excellence / Yixing Urban Sculpture Competition / Yixing, China

2009 Top Ten Contributor / Chaoyang District Cultural and Creative Industries / Beijing, China

2006 Pangolin Prize / FACE2006: The Annual Exhibition of the Society of Portrait Sculptors /

London, UK

2004 Award for Excellence / Third National Urban Sculpture Exhibition / Beijing, China

2003 Bronze Award / Tsinghua University Professors' Exhibition / Beijing, China

2001 Award for Excellence / International Exhibition of Arts and Sciences / Beijing, China

1997 First Prize / Fourth National Sports Art Exhibition / Beijing, China

1994 Excellence Award / Second National Urban Sculpture Exhibition / Beijing, China

1994 Award for Excellence / Eighth National Fine Art Exhibition / Beijing, China

1993 Special Prize / Third National Sports Art Exhibition / Beijing, China

1991 Excellence Award / Dazi Hope Open Air Museum / Ibaraki, Japan

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Emmanuelle Pacini

March 20, 2013, 12:24 pm

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Emmanuelle Pacini

Emmanuelle Pacini – Design da vivere e indossare

Emmanuelle Pacini, scultrice, dopo la sperimentazione di varie tecniche, inizia a creare sculture in ceramica Raku, tecnica affine al suo pensiero di interiorità e legame con gli elementi terreni quali terra, fuoco, aria e acqua, e l'abbandono del corpo col suo sgretolamento.

Da qui nasce l'idea di utilizzare la tecnica anche per creare oggetti artistici, gioielli e, unendola all'utilizzo della luce, creare lampade che ricordano pianeti.

La ceramica Raku è un antica tecnica giapponese legata alla filosofia Zen. Con la diffusione del metodo nel mondo occidentale la tecnica ha subito profonde trasformazioni, superando il legame che aveva in origine con la cerimonia da the. A differenza della nostra ceramica i pezzi vengono estratti dal forno ancora incandescenti e inseriti in recipienti contenenti materiali infiammabili come foglie, paglia, segatura, che bruciano a contatto col pezzo. Il repentino raffreddamento della superficie provoca la comparsa di screpolature dello smalto. La combustione viene subito soffocata dal ceramista immergendo il pezzo in acqua o facendolo raffreddare all’aria; il fumo che si crea penetra all’interno delle crepe, affumicando le parti prive di smalto. Questo processo determina, in combinazione con gli ossidi dello smalto, particolari effetti e sfumature, spesso unici e casuali. Il risultato finale non sarà mai ripetibile.

L’ideogramma “Raku” significa “gioia, soddisfazione, liberazione”. Ogni pezzo ha una sua storia e porta con sé l’emozione di chi lo crea, unica e irripetibile.

BIO - Nata a Neuchatel (CH) nel 1978, coltiva fin da piccola la passione per la scultura. Diplomata nel 1998 al liceo artistico Santa Marta di Milano, dopo un anno di Accademia di Belle Arti a Brera, si trasferisce a Bologna dove continua i corsi di scultura, diplomandosi nel 2001. Attratta dalla materia, in accademia inizia a sperimentare diverse tecniche e materiali: terra gesso, cartapesta, resine, ferro, materiali sintetici. Tornata a Milano nel 2002 inizia a lavorare come assistente di noti scultori, tra i quali KRIS RUSH. Grazie a Rush entra in contatto con la ceramica Raku e inizia una ricca produzione di oggetti artistici di arredamento d’interni.

Il suo è un lavoro introspettivo che richiama aspetti meditativi attraverso la rappresentazione di corpi femminili ad occhi chiusi. Le sue opere producono nello spettatore un senso di ritorno alla propria natura, sebbene l’idea basilare è quella di “ un’ organismo geneticamente modificato”.
Il corpo umano si è trasformato in un elemento integrante con la terra e le proprie radici. Il ritorno alla madre natura come aspetto della donna/uomo contemporaneo è senza dubbio una richiesta, un sentimento di appartenenza a quello che la realtà “denaturalizzata” di oggigiorno offre.
La scultrice attraverso i suoi stati d’animo ritorna “all’ essenziale”; le sue creazioni inducono a pensare al profondo rapporto stabilito dal punto di vista dell’artista con la natura e la società.
La vita interiore si scolpisce nelle figure nude attraverso segni personali e crepe proprie della ceramica RaKu. Gli elementi naturali interagiscono con l’artista durante la realizzazione dell’opera; terra, fuoco, acqua e vento che ne determinano la superficie e rafforzano il collegamento con la natura.
Nata in Svizzera nel 1978 studia scultura alla Accademia di Belle Arti di Brera e Bologna e si diploma nel 2002. Torna a Milano nel 2003 e lavorando come assistente di scultori entra in contatto con la tecnica della ceramica Raku.

Alejandro de Luna
Critico d’Arte
quote

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Gene Pearson

March 20, 2013, 5:01 pm

≫ Next: Linda Christensen

≪ Previous: Emmanuelle Pacini

Gene Pearson

History

Gene Pearson, born in 1946 in St. Catherine, Jamaica, is a 1965 Graduate of the Edna Manley College of the Visual and Performing Arts. He taught at several high schools in Jamaica and also the Edna Manley College of the Visual and Performing Arts. He has exhibited widely both locally and internationally including at the Victoria and Albert Museum in London and UC Berkeley in Berkeley California.

His work is represented in films, Publications and leading corporate and private collections internationally including the private collections of celebrities in California and other parts of the USA like Stevie Wonder, Singer/Musician, Arnold Schwarzenegger, former governor of California and actor, Alice Walker, author of the Book and Movie "Colour Purple" and others. He has completed commissions for several local hotels, including Swept Away Hotel and Grand Lido Hotel. He was interviewed on the tv program "Black Renaissance" aired on Channel 44 for his 1991 and 1993 exhibitions in California.

His work has been presented by successive Prime Ministers as gifts to several foreign dignitaries, including Heads of States and other celebrities. Beneficiaries of his work included; Leonid Breshnev of the Soviet Union, Prime Minister Phan Van Dong of Vietnam, President Lopez Portillo of Mexico, Mr. Taba Marouf Vice President of Iraq, Mr. David Rockefeller President of Chase Manhattan bank of New York USA, President Nelson Mandella of South Africa, Ms. Roberta Flack Singer/ Musician, Ms. Maya Angelou renowned American Poet and Author and President Bill Clinton of the USA.

His work appears on the Jamaican $1.40 stamp released on 26th April 1993 depicting "Jamaica Ceramics" from the Hardingham Collection. In March 21, 2001 he was awarded the "Hall of Fame" Award For Excellence in the Field of Visual Arts and in 2006 he was given national honours in the rank of O.D. for distinguished performance in the Arts. In October 2010, he was awarded the Silver Musgrave Medal in the field of Arts by the Institute of Jamaica. Over the years his exhibitions have received critical acclaim.

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Linda Christensen

March 20, 2013, 5:56 pm

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Linda Christensen

"Feb 2013 – I continue to explore the figure and am looking more consciously at the reasons for doing so. I enjoy working on composition whilst creating obstacles for myself – this challenges me to select different solutions to familiar situations.

Sometimes throwing something onto the canvas that has little immediate connection to the current idea opens up a new awareness. I strive to keep myself interested in the process and therefore a challenge is welcome. At the moment I use different implements such as sticks and cheese graters to push the boundaries. Reworking my palette and exploring new color combinations is helping me to question the reason for selecting specific colors.

I like the challenge in my awareness of what isn’t happening, what isn’t being used, what isn’t being said and why, these are some of the obstacles I set myself.

Honesty about myself is a crucial factor in my paintings. My overall desire is to emit emotion through the paint, the line, the contrasts and composition. Redundancy is the enemy. I want to keep things interesting and with a hint of danger. Danger in the desire to obscure what is already there and what might be a beautiful passage in the painting. Courage to continue growing and recognizing my need for emotional movement is paramount."

Linda Christensen

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Lawrence Amélie

March 21, 2013, 4:42 am

≫ Next: Kostas Ulevicius

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Lawrence Amélie

I've been painting for about 15 years. Being the daughter of two abstract painters, it may seem strange for me to paint flowers and fabrics, but i don't feel quite ready to try the magnificent leap into the void which is the Abstract, someday perhaps...

Meanwhile i paint that which moves me, flowers growing haphazard, bucolic nature, its poetic disorder, and tutus abandoned in a disparate fashion.

Anarchic nature, like the iconoclastic way of presenting tutus slipping off their hangers, wouldn't mean anything to most of us, only accident, an error of man or of nature.

Jean Cocteau in his " Letters to Mitoraj " wrote :"sanctify yours errors".

This perfecty describes my way of painting in an impressionist fashion leaving free access to imagination, to improvisation, to the fantasy of tachism wich like an obstinate insect will go where my conscience doesn't expect it to, but my subconscious will delight, and repercut from splash to splash, accidents from unfettered brush, strokes wich the canvas is expecting;serene liberty, a sliver of absolute.

Each canvas, receiving striates of colors and washes, ends up almost acquiring its soul.

Humbly, I try to obey to this, and become just the vector of the instant.

I thank life and all those who encouraged me to able, everyday, in my studio to feel this liberty to begin,with each creation, a marvelous adventure.

Laurence Schneider.

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Kostas Ulevicius

March 21, 2013, 5:23 am

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Kostas Ulevicius

Kostas Ulevicius was born in 1961. Kostas currently lives in Saint Petersburg, Florida.

"Ceramics sculptor Kostas Ulevičius recently participated in the Omaha Summer Arts Festival (June 10-12, 2011) along with some 130 other artists from the Omaha region and across the nation, adjacent to Omaha’s Old Market district. Kostas Ulevičius – born and trained in Lithuania – was a member of the teaching faculty in Fine Arts at Vilnius University, until he moved to the United States. Originally based in Chicago, Kostas Ulevičius established a new home and built a new working studio in St. Petersburg, FL."

source

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Lorenzo Moya

March 21, 2013, 7:45 am

≫ Next: Clayton Thiel

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Lorenzo Moya

The artist Lorenzo Moya was born 1967, Santiago, Chile.
Lives and works in Santiago, Chile.

Lorenzo Moya was born in Santiago, Chile in 1967. He studied architecture before devoting himself to art. He received his degree in art from the University of Chile.

His style is quintessentially Latin. Mystical figures are superimposed. Mysterious landscapes and theatrical architecture display seemingly contradictory states of dreaming and reality. His surrealistic scenes serve as stage sets for the mind. Certain objects are recurring – the table with a white linen cloth, the narrow streets with light streaming out from doorways, and outdated ships, planes, or cars, waiting. In Moya’s world, all is waiting for something to happen. Trails and urban landscapes are wrapped in the magic of the unexpected. Light and water are important elements - his paintings are pleas to safeguard the planet. According to Moya, "Painting light is impossible. It’s like painting an angel." His work proves otherwise. Women are prominent in many of his paintings - strong, larger than life, but graceful. They are enmeshed in the scene, with the sea or land visible through their skirts.

His work has been exhibited in the U.S., South America, and Central America.

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Clayton Thiel

March 21, 2013, 8:49 am

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Clayton Thiel

ARTIST'S STATEMENT

ELEMENTS OF STYLE:

The Sculpture of Clayton Thiel

As a sculptor interpreting the figure in both its inner and outer manifestations, Clayton Thiel states that he is always staring at people and examining the various interpretations of the human form in art. Then he makes new things that come from this looking. Years of figure drawing provided a foundation for his working process. This extends itself into basic coil-building of clay sculpture and informs him as he carves and chisels into stone to reveal the figure inside.

Stylistically, Thiel works both “abstractly” and in ways influenced by the elemental realism of classical Greek sculpture as well as the artistic traditions of the Middle East and Asia. A keen awareness of his own inner direction and inclination results in work with certain qualities of aliveness, potent psychology and conscious symbolism. Above all, the process of transformation is always present.

Important components of his sculpture are technical contrast and the elemental. Juxtapositions between smooth and rough surfaces, light and dark, are superbly and subtly applied. The basic elements of water, air, earth and fire are present and are transmitted strongly to the viewer. When encountering his tall totemic figures, for instance, the viewer is startled: the figures stand confrontational and stoic like alert sentinels; somehow Egyptian in their timeless-ness, they evoke powerful responses.

Thiel’s more recent work has become “simpler,” though deceptively so. Once imbuing his heads and figures with more obvious narrative elements, often composed of symbolic objects or story-telling hints to be interpreted, his sculptures now ask only to be examined for themselves.

The artist himself has something to say about his latest series of powerfully evocative gigantic-scale clay heads: “I know that I have been greatly inspired by being with my infant grandson. His face reminds me of all styles and expressions, possessing the ideas, feelings and meanings in all my work so far. This wonderful new human being, still completely innocent, inspires me to work with the very beginnings of clay, two domes joined together, that eventually become these heads. My intention still is to create an elemental, archetypal presence. The repetition of the same powerful shape in differing interpretations, with the addition of color, of forms, of surface contrast, seems to synthesize all formal and informal elements I have pursued in my sculpture.”

WILLIAM TORPHY

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Marin Majić

March 21, 2013, 9:58 am

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Marin Majić

1979 in Frankfurt am Main/Germany
Education

2004 – 2010, Zagreb, Croatia – Academy of Visual Arts in Zagreb

detail

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Jon Redmond

March 21, 2013, 1:54 pm

≫ Next: Tibor Nagy

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Jon Redmond

Education

MFA- University of Delaware, Newark, DE, 2001-2003

4 Year Certificate - Pennsylvania Academy of the Fine Arts, Philadelphia PA, 1987-1991

BFA- West Chester University, West Chester, PA, 1982-1986

Awards

-2007 Fellowship Award of Excellence, PAFA Fellowship, Plastic Club, Philadelphia, PA

-2006 May Audoubon Post Award,PAFA Fellowship, Plastic Club, Philadelphia, PA

-2005 Excellence Award.Annual Photography Exhibition,Chester Co.Art Assoc.West Chester, PA

-2002 Competitive Scholarship with stipend, University of Delaware

-2000 Individual Artist Fellowship, Delaware Division of The Arts

-2000 New American Paintings Competition, Issue No. 27, The Open Studios Press

-1998 S. J. Wallace Truman Prize, National Academy, New York, NY

-1995 Mary Butler Memorial Award, Pennsylvania Academy of Fine Art, Philadelphia, PA

-1992 Pew Charitable Trust Award/Vermont Studio Center Residency

-1990 William Emlen Cresson Memorial Traveling Scholarship, PAFA

-1988 & 1990 Wallace Cadwalader Prize for Landscape & Portraiture, PAFA

-1990 Thomas Eakins Memorial Prize, PAFA

Teaching

-2009 Painting instructor, University Of Delaware, Newark, De

-2009 Painting Instructor, Chester Co. Art Association, West Chester, Pa

-2003 Instructor of Record, Figure Painting, University of Delaware, Newark, DE

-2002 Instuctor of Record,Figure Drawing, Figure Painting, University of Delaware, Newark DE

-2001 Insructor of Record, Foundation Drawing I and II, University of Delaware, Newark DE

-1998-2001 Drawing and Painting Instructor, Delaware Art Museum, Wilmington, DE

-1998,2002 Guest Painting Instructor, Howard Pyle Studio Group, Wilmignton, DE

-1997 Guest Lecturer, University of Michigan, Ann Arbor, MI

-1998 Guest Lecturer, Chester County Historical Society, West Chester, PA

-1998-2001 Painting instructor, Chester County Art Association, West Chester, PA

-1996 Guest Lecturer, The Aegean Center for the Fine Arts, Paros, Greece

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Tibor Nagy

March 21, 2013, 2:52 pm

≫ Next: Richard Morin

≪ Previous: Jon Redmond

Tibor Nagy

Tibor Nagy was born and raised in a small town called Rimavská Sobota in Slovakia which lies in the heart of Europe. He grew up in a family of musicians during the communist regime, where the artistic expression was severely restricted. On the other hand, these circumstances helped him to find his own unique voice as an artist, relatively uninfluenced by external elements.

Since a very young age, Tibor found himself deeply connected with nature and graphic expression in many forms felt very natural to him. Experience gained in nature and experience in artistic field constantly complemented each other. This created a strong basis which influenced his entire artistic development as well as remaining an endless source of inspiration for him as a self-taught artist.

At the beginning of Tibor’s artistic journey, realism combined with abstraction was the direction which prevailed in his style. Later, in the eighties, he started to incline more toward surrealism, combined techniques and experimentation still searching for his own unique way of expression.

In 2005, Tibor finally painted his very first plein air. It was also his first contact with landscape painting and oil painting. He immediately saw a great potential in this form of painting and expression even despite the difficulty of this style. The “Alla Prima” approach seemed very appealing in a sense of directness, truthfulness and expressiveness while at the same time being a real challenge as it required an uncompromising artist.

About Tibor’s approach to painting:

“In painting, I strive to capture vitality, essence and diversity of the scenery while concentrating on the emotional context. Sometimes it is difficult to keep the inner impulses under control. At this point I need some courage. An unknown territory starts beyond this border.“

“It is like being on the edge. Sometimes I fall and other times new, unexpected possibilities of expression and technique become available to me. Being constantly on the edge is the way I can improve. Having the courage to leave the safe, yet often boring road and "stay alive" is what matters to me. I also make an extra effort to remain constantly open to new possibilities and innovative ways, and if possible, not to remain at the same level all the time. In this way I give new creative processes the opportunity to carry me forward.“

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Richard Morin

March 21, 2013, 5:51 pm

≫ Next: Shirley Thomson-Smith

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Richard Morin

Biographie

Richard Morin est né à Québec en 1963. C'est en communication qu'il obtient son premier diplôme en Art et Technologie des Médias, pour ensuite graduer de l'École Nationale de Théâtre du Canada en scénographie en 1988. À la fin de cette formation, il part suivre différents stages de perfectionnement à Paris. Durant ce long séjour, il est reçu à l'École Nationale Supérieure des Beaux-Arts, et y suivra les cours théoriques à titre d'étudiant libre. De retour à Montréal, parallèlement à son métier de scénographe, il entame sa recherche en peinture.

Rapidement, ses tableaux vont se retrouvés dans d'importantes collections: Pratt & Whitney Canada, Cirque du Soleil, RBC-Dexia(Londres), Alcan, Loto Québec. Il remporte également plusieurs prix pour son travail en théàtre: Prix Chalmer, Masque. Finaliste au concours national de portrait Kingston Prize, l'École Nationale de Théâtre le mandate en 2011 pour créer et réaliser une fresque extérieure de grande envergure célébrant son 50e anniversaire.

Formation

1988-1989 École Nationale Supérieure des Beaux-Arts, Paris, France, Section de dessin (étudiant libre)

1984-1988 École Nationale de Théâtre, Montréal, Québec, Diplôme en scénographie et conception visuelle

1988 Opéra de Paris, Paris, France, Stage au service de décoration, peinture scénique

1979-1983 Cégep de Jonquière, Jonquière, Québec, DEC en arts et technologie des médias / Option télévision

Bourses et mentions

2003 SOIRÉE DES MASQUES de l’Association Québécoise du Théâtre. Nomination : Catégorie Meilleur décor pour la pièce La nuit des Rois du TNM

2001 PRIX CHALMERS, Catégorie «Théâtre jeune public», co-scénariste du spectacle Le Porteur, créé au Théâtre de l’oeil.

1999 SOIRÉE DES MASQUES de l’Association Québécoise du Théâtre, Lauréat dans la catégorie Contribution spéciale pour la conception des marionnettes de la pièce Le Porteur du Théâtre de l’oeil.

1998 Bourse en arts visuels, peinture. Conseil des arts et des lettres du Québec

1998 SOIRÉE DES MASQUES de l’Association Québécoise du Théâtre. Nomination : Catégorie Meilleur décor pour la pièce Contes d’enfants réels du Théâtre Le Carrousel

1989 Bourse en Théâtre. Ministère des affaires culturelles

1987 Bourse des fonds F.C.A.R.

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Shirley Thomson-Smith

March 22, 2013, 4:30 pm

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Shirley Thomson-Smith

Born in 1929 in St Louis, Missouri, Shirley Thomson-Smith has created art deeply profoundly influenced by the experience of living in Durango, Colorado and traveling through New Mexico. There she observed the powerful tradition of Native Americans and was particularly drawn to the strength, character, and symbolic role of American Women.

Shirley Thomson-Smith's sculptures are boldly modern works, highly influenced by her understanding of early 20th century American and European art. These powerful style icons of individual women of sympathetic groups radiate great sensitivity, love and a magic authority because of their presence and simplicity. They are matriarchs, Earth Mothers, but above all else they represent sensitivity, the women's historical role as the cornerstone of society and the passivity, intuition and stoicism on which civilization depends on.

Her portrayals of American Indians and peasant woman have brought her numerous awards and honors while the basic simplicity of design has captured the emotions of fine art collectors. In 1985, She was accepted as a member of the prestigious National Academy of Western Art (NAWA). Her works are on display in galleries across the United States.

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Louis Boudreault

March 23, 2013, 4:30 pm

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They became famous ...

Marguerite Duras

Gainsbourg

Presley

Disney

Louis Boudreault

Louis Boudreault was born September 24th, 1956 at Havre-Aubert, Iles de la Madeleine. After his studies in litterature and theater, he leaves for France, where he enters the Louvre school in Paris. Then, he works as an art consultant for 6 years, contributing to the developement of important collections. In 1991, he starts to work full time as an artist. In 1998, he comes back in Québec and puts in place his studio in Montréal.

Ferré

Van Gogh

Warhol

Saint-Laurent

Lennon

LOUIS BOUDREAULT

Speak, Memory: The Auratic Portraits of Louis Boudreault

By: James D. Campbell

“I witness with pleasure the supreme achievement of memory, which is the masterly use it makes of innate harmonies when gathering to its fold the suspended and wandering tonalities of the past.”

—Vladimir Nabokov, Speak, Memory: An Autobiography Revisited

“In the depths of the forest your image follows me.”

-- Racine, Phaedra

Saint-Exupéry

Marcel Proust

Through the tremulous prism of his truly implacable optic, Louis Boudreault makes it possible for our memories of his subjects to speak, and eloquently too, of prior acquaintance, admiration, respect, affection, even unrequited love. He encourages us to distinguish the features of his subject’s younger from their older selves, living from dead, celebrities we have known well from those we have almost forgotten. And while their lips may be closed, open or moving in mute speech, as Vladimir Nabokov once held of his own remembered and cherished ones, their eyes are wide open. (1) In the deep, dark and seemingly bottomless well of those eyes, there is a supplication less theirs’ than our own, and we immerse ourselves therein with alacrity and are moved and freshened by sundry memories provoked and recognitions pursued.

Boudreault is a rare savant at conjuring up truth and authenticity from portraits that practice a retroactive art of mnemonic seizure, serene investiture of self and aura-laden restoration. He speaks to our collective memory, and it then speaks in its turn of the changes wrought by time -- its nameless violence, ruptures and attrition – and proceeds to specify what, with a consummately delicate brush or iron, remains the same and what has changed as we identify his young subjects for ourselves. As we connect the dots between their childhoods and their adult lives, as we leaf through the thick mnemonic photo albums we all carry around inside our heads of the notables amongst us, whether it be Andy Warhol or Marguerite Duras, Winston Churchill, Chairman Mao or Francis Bacon, Boudreault summons them up, calls them forth from the dewy, idyllic meadowlands of their youth, and spurs a recognition that returns us knowingly to the archeo-psychic past, embedded memories and the ground of the figure itself.

I say ‘iron’ as in ‘clothing iron’ in addition to brush because the level of formal invention in Boudreault’s practice is very high, and stimulatingly so, and the iron is his signature instrument rather than traditional brush and paint can. To see him ‘ironing’ down fragments of handmade paper onto his pressed palimpsests rather than simply daubing there is to appreciate the sheer radicality – and the high stakes -- in achieving his paintings as wholly unified, totally unforeseen things. He builds his palimpsests from the ground floor on up like a carpenter or dry mason: a bare wood substructure is the support onto which myriad papers are ironed down onto the plane, resulting in a support rich with the stored labours of his thoughts and activities, with multiple strata that waylay all the voices of time. The applied charcoal then delineates forms, which are subsequently transformed into the outer epidermis – the breathing skin – of the portrait proper. A portrait by Boudreault is more than a portrait. It is a paradigm not only of what is mind to say but also of the process dimension, the much-vaunted act of making. Process reigns supreme here.

If Boudreault’s paintings achieve real presence and stake a singular claim upon us, it is because he amplifies the auratic volume of his portraits not just through acts of accretion – but through acts of consistent and radical subtraction. His is a manifestly reductive art that evokes and works though an aesthetic of absence. In spite of the perceived thickness of the support – a lovely mirage, really, or red herring since the sheer depth of the palimpsest is only literal around the edges of the wood support – Boudreault methodologically eliminates any detail, figural or colouristic – that might yield an extraneous effect or a baroque accent.

quote (and more) here

Piaf

Einstein

Grecco

Boris Vian

Gandhi

L'entrevue - L'histoire dans des yeux d'enfants

L'oeuvre récente du peintre Louis Boudreault est peuplée de bambins devenus célèbres

Des yeux. Les yeux clairs de Piaf ou de Van Gogh enfants, ceux plus sombres de la petite Juliette Gréco, du temps peut-être où sa mère et sa sœur avaient disparu durant la guerre, le regard lourd du jeune Albert Einstein. Ils vous dévisagent de leur enfance, dès qu'on passe le pas de l'atelier de l'artiste-peintre Louis Boudreault, au Belgo, rue Sainte-Catherine, à Montréal. De leur enfance et de l'histoire qui a suivi.

http://www.ledevoir.com/culture/arts-visuels/327647/l-entrevue-l-histoire-dans-des-yeux-d-enfants

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Louis Boudreault Marcel Proust - Pablo Picasso and Margerite Duras

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Roni Taharlev

March 24, 2013, 4:54 am

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Roni Taharlev

Born 1964 Kibbutz Yagur.

Grants & Awards:
1983 The America Israel Fund Award for Young Artists
2000 The Ben Isaac Prize, The National Museum, Jerusalem
2002 The Oskar Hendler Prize

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