Xavier Rodés

May 3, 2013, 6:37 am

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Xavier Rodés

Xavier Rodés (1971) was born in Barcelona, CATALONIA (SPAIN). There he did Art studies at EINA College, where he carried out his Final Project on “Industrial and Urban Landscape”. Today lives and work at his home/studio in El Masnou, near Barcelona.

The ground-breaking way to treat the light, the precision at drawing, and the original choice of themes, are particular highlighted in his works. Inspite of being a figurative artist, his paintings suggest non-conventional ideas, as he focuses on the composition, the chromatic harmony and other plastic features, rather than the mere description.

Since 1996 he exhibited his works at many Galleries all around Spain, mostly at SALA PARÉS in Barcelona and ANSORENA Gallery in Madrid, and he has taken part in international Fairs such as Strasbourg, London, Madrid, etc… His paintings are present in many private and public collections, and lately he started a fruitful relationship with many galleries around the word: USA, France, Switzerland, Argentina.

XAVIER RODÉS I TORRAS Barcelona 1971

FORMACIÓN ACADÉMICA:

1986-89 Estudios de diseño “Escuela Elissava”

1989-94 Licenciatura de arte Universidad EINA (Barcelona)

1994-96 Proyecto ﬁnal de carrera bajo la tutoría de X. Serra de Rivera. Tesis:

“Ruinas modernas”

1999 Curso superior de pintura: Antonio Zarco.

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Hollis Dunlap

May 3, 2013, 6:56 am

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Hollis Dunlap

Bio

Born in northeastern Vermont in 1977, Hollis Dunlap is a painter living on the east coast of Connecticut in the USA. He paints modern paintings with a strong influence of old masters from Caravaggio to Vermeer. The color choices, brushwork, and compositions reflect the influences of various painters, from representational to more abstract in terms of composition and varying applications of paint.

From a young age he has been interested in painting and drawing, inventing imaginary figures, landscapes, and other compositions in whatever media was available. When he reached the age of fourteen he began using oil paints, at first experimenting with still life. Encouraged by his high school art teacher, he began taking private oil painting lessons, studying the figure as well as painting landscapes on-site. During these years he augmented his school art classes with after-school figure drawing programs, developing his familiarity with the human form. At the same time he began to study the old masters extensively, copying many master drawings and paintings in an attempt to absorb some of the spirit of their work, as well as more specific technical lessons to be gained from these artists. His goal was to attempt to combine classical drawing in the style of Michelangelo with the subtle color and lighting of painters like Vermeer. After graduating from high school he went on to study at the Lyme Academy College of Fine Arts, where he received extensive training in drawing and painting the human figure from life, as well as painting hundreds of landscapes on site over the course of four years. During his time at the Academy he received several noteworthy awards including winning the National Arts Club Student Show first prize for two consecutive years. Upon graduation he received the Stobart Fellowship, a grant to paint for a year and hold a solo show at the end of that time.

Mr. Dunlap has a great appreciation for highly realist painting and sculpture, as well as a love of the open-air landscape painting. He enjoys the challenge of accurate drawing, as well as the beautiful transparent qualities of oil paint and spontaneous brushwork. He has been influenced by many different painters and techniques, and the qualities of color, drawing, and surface in his paintings reflect artists from Velasquez, to Edward Hopper, to Diebenkorn. Paint application is extremely important, and subtlety of color harmony is studied with careful attention to detail. In addition, the painting process and revisions add to the tactile qualities of the work, creating a painting surface with contrasting areas of thick and thinly applied paint.

Over the past few years Mr. Dunlap has had several one person shows in New York and Boston, and has taught painting and drawing in several locations on the east coast, including the Lyme Art Association, Mystic Arts Center, and Lyme Academy College of Fine Arts. He currently maintains a studio in Eastern Connecticut.

Professional Experience:

Lyme Art Association

Old Lyme CT

2002-present

Instructor in figure painting, figure drawing, landscape painting, still life painting

Garde Arts Center

New London CT

1999-2003

Worked on restoration project of interior of the theater Instructor of figure painting and drawing classes

Mystic Arts Center

Mystic CT

2003-04

Instructor in figure drawing, painting, and composition

Lyman Allyn Museum

New London CT

2008

Instructor in drawing and composition

Lyme Academy College of Fine Arts

Old Lyme CT

2004-06

Instructor in figure drawing, painting for pre-college and continuing education

Education:

Graduated from St Johnsbury Academy in 1995

BFA from Lyme Academy College of Fine Arts in 1999

Awards:

National Arts Club Student Show first prize 2 consecutive years while at Lyme Academy

1st prize at Copley Society Student Show while at Lyme Academy

Stobart Fellowship from Lyme Academy

Elizabeth Greenshields Foundation grant 2 times

Adele K. Paier prize, New Haven Paint and Clay club

Best in show, Mystic Arts Center annual group show

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CAROLINA RODRÍGUEZ BAPTISTA

May 3, 2013, 2:41 pm

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CAROLINA RODRÍGUEZ BAPTISTA

STUDIES
92-94 Parsons School Of Design, NY, USA.
BFA, Communication Design
89-92 Instituto De Diseño Neumann, Caracas, Venezuela. Graphic Design

The artist CAROLINA RODRÍGUEZ BAPTISTA brings the female figure back to sculpture. Hers are figures full of expressiveness that the artist uses as a mean of expressing her creative discourse. With great control of volume and movement, her works go beyond the pure sculptural thing, studying thoroughly the world of the symbolic. Each spectator sees in her works something from themselves: the encounter with a remote memory, the evocation of a moment, a thought, or maybe a forgotten wish.
CAROLINA RODRÍGUEZ BAPTISTA is a young artist who already has a wide career of exhibitions and artistic recognitions, both in a national and international level. She exhibits regularly in Madrid, Paris, Miami and New York, and her works can be seen in many public and private collections all around the world, collections such as the Contemporary Art Museum in Caracas and the Art Directors Club in New York.

Studies
92-94
Parsons School Of Design, NY, USA.
BFA, Communication Design

89-92
Instituto De Diseño NEUMANN, Caracas, Venezuela.
Graphic.

Carolinas work has received the recognition in Spain of several newspapers and magazines such as: ABC, El País, La Razón, Metro Madrid, Galeria and Anticuario, El Punto de las Artes, ABC de las Artes, Vogue Spain, Marie Claire and Clara. Its received the recognititon in Venezuela of: El Mundo, El Universal, Kena and El Nacional.
She has been interviewed in television programmes such as: "Casa América" in Antena 3 International, Telemadrid, and Cadena Global in Venezuela.
Her works have been published in many publications such as: Creativity 31, The Big Book of Design Ideas, The Creativity 30 Annual, The Years Best Design Annual (published by Hearst Books International), and by magazines specialized in the media such as: Inspire, Steps by Steps Graphics and How Magazine.
Throughout her career Carolina has received several awards for the quality and originality of her works, awards such as: American Graphic Design, John Caples, Communicator, HOW magazine, Art Directors Club, AIGA and Contemporary Art Museum in Caracas, Venezuela.

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Richard Bello

May 3, 2013, 4:13 pm

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Richard Bello

Richard Bello was born in 1952 in New York where he spent the fiorst 19 years of his life. His parents were of puertorrican origin. A selftaught artist, Bello began his career in Puerto ico where he has live ever since. He has develop a different approach to artistic expression, taking live models and posing them. He makes plaster molds of their bodies and later excat copies of them.

Throught his works with body casting Bello has created a unique art form which fuses canvas and, ceramic sculpture to express his compelling inner vision and experience. His work is totally existentiallistic and conveys a wide range of human emotions , raging for anger, frustuation and anguish to love, hope, faith and humor. In spite of the condition, his ceramic on canvas works always deliver beauty, harmony and most important liberation.

Bello began drawing, painting and sand sculpting in 1972 and workking with ceramic in 1980. He has been developing his ideas throught body casting since 1982.

His first one man show was held in 1976 at the Old San Juan Cuty Hall. He also had shows at La Fortaleza (Governor's mansion in Puerto Rico), at the Marrozzini Gallery (also in Puerto Rico), at Jack Gallery (Soho, NYC), and curret exhibition in Botello Gallery at San Juan.

"I believe that escape is not impossible, but that one may become entrapped in oneself and of the burdens of life. Sometimes we may appear to have been freed from them, when in reality we are coming out from one set of circumstances into another. It is a perpetual birth without death, all beginning without end, all light, darkness is only what we imagined it to be, a rebirth of time in space."

Richard Bello

La obra de Richard Bello en este período que se caracteriza por el llamado Body Casting sobre lienzo reúne todas las cualidades de la definición renacentista del arte, completo y universal. Bello logra un balance perfecto entre forma y fondo. Es artifice de la técnica e ideólogo del mensaje, que nunca falta en su obra. En su mundo, la historia y la existencia del hombre se ven de manera cíclica. Un mundo en cierto modo borgeano, donde el hombre vive a merced de su destino sin saber jamás dónde está el principio o dónde el fin de cada ciclo. Sin embargo, en la obra de bello permea cierto halo de esperanza de fe no dogmática en la fuerza del hombre frente a los embates de su vida.

Tomándo como base ideológica el constante conflicto humano de nacer y morir, caer y resurgir, Bello canaliza otras preocupaciones tales como la manipulación del hombre, la inocencia, las ansias de libertad, la sensualidad en desarrollo y en culminación, las relaciones humanas y la belleza como meta del artista. Este último tema es constante en toda su obra, ya que Bello es el artista inconforme o hambriento de perfección. Su obra es un ensayo a distintos niveles del arte y del pensamiento.

El uso continuo del blanco a veces matizado por colores suaves y claros es síntoma de que aún cuando las ideas del artista están claramente definidas en su ser, éste no desea imponerlas sobre su público si no que deja que cada pieza sea un foco de análisis y disfrute para cada persona. Esta es una de las razones por la que Bello se puede clasificar como un artista logrado. Porque su obra no depende de él, ni de su vida, ni de su biografía para que el espectador la capte y la sienta en su fibra más interna.

Bello tiene además la característica determinante del gran artista moderno: la ambiguedad. Su obra es hermosa, pero a veces sombrí; proyecta angustia y esperanza a un mismo tiempo; es en ocasiones jocosa presentándo los temas más dramáticos; pretende ser liviana para lograr más impácto, y vacila entre ser y no ser, retándo la tranquilidad del espectador, descubriéndo con belleza los aspectos más terribles de la vida humana.

Después de conocer su obra, Bello resulta un ser inescapable. Un recuerdo permanente de que el hombre no es otra cosa que un embrión con cuerpo de adulto, una mariposa constante en la complicada larva del mundo. Bello es intelecto, espíritu y fuerza creadora. Su obra es alimento a la mente del hombre y banquete sensorial a la más pura visión artística.

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Damiano Taurino

May 3, 2013, 5:01 pm

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Damiano Taurino

E' uno degli scultori più prestigiosi del nostro tempo.
Nasce nel 1949 a Galugnano, frazione del comune di San Donato di Lecce, la magnifica terra del Salento, ricca di tradizioni storiche millenarie risalenti alle antiche civiltà greca e messapica (1.000 a.c.).

Questa terra, con il suo patrimonio storico-culturale, riesce ad inculcare nel giovane Damiano, la voglia segreta del modellare, la capacità di estrarre, da un pezzo di creta, immagini e figure incantevoli.
All'età di 16 anni emigra in Svizzera, si stabilisce ad Horgen-Zurigo e trascorre un periodo dedicato alla formazione scolastica e professionale.
Nel 1981 rientra in Italia e prende residenza a Cesena, dove tuttora vive e lavora. Qui si dedica, a tempo pieno, alla sua passione nativa, alla scultura e, in particolare, alla modellazione della creta.

l suo lavoro artistico non segue indirizzi prestabiliti perché è caratterizzato da una forte originalità, la quale si esprime non in forme astratte o impersonali, ma concrete e segnate da un realismo vivo, intenso. Sono di una bellezza incomparabile. Nelle figure scolpite da Taurino l'osservatore riesce a cogliere movenze, atteggiamenti, posture che sanno comunicare il dinamismo della vita moderna, i sogni, le gioie e le speranze di cui l'animo umano è portatore. In talune sue opere Damiano ha mostrato di essere anche un "maestro" della caricatura, usando le tecniche e le tematiche del suo istinto creativo.

Prof. Attilio Bazzani - Presidente Adarc -

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WILLIAM LUDWIG (1935-2011)

May 4, 2013, 3:26 am

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WILLIAM LUDWIG (1935-2011)

“I was trained not as a classical sculptor, but as an academic sculptor. How to draw, how to design, how to do things. How to do things…We were not allowed fancy titles for our work. If the work doesn’t explain itself, then a title doesn’t help. If you’re going to write about a piece of sculpture, why do it? Why bother making it? Why go through the agony of the wax and the bronze and the heat and the sweat? Why not just sit down and write the description?”
-Bill Ludwig
New Orleans Magazine, 1996

Born: Hartford, Connecticut
Education:
University of Connecticut, 1957-1961
Hartford Art School, University of Hartford, 1961-66, BFA Sculpture (cum laude)
Tulane University, 1966-68, MFA Sculpture
University of New Orleans, 1973

William Ludwig’s work has been described by various critics as “realistic,” “surrealistic,” “classical,” and always “meticulously crafted.” His work is generally figurative, usually female, and features detailed, patined surfaces often contrasting with highly polished flat planes or draperies of metal. Ludwig uses some life casts in his work. He models directly in wax and uses the lost-wax method of casting, resulting in images very rich in detail. He variously uses fabric, clothing, headgear, helmets and armor to add movement and content to the pieces. The resulting heads, torsos and reliefs are elegant, graceful and beautifully crafted.

BIOGRAPHY
Bill Ludwig attended art school in the early 60’s when a formal, academic education was strongly emphasized. At the Hartford Art School, he studied under Wolfgang Behl, Rudolph Zallinger, Clifford Jones and Paul Zimmerman and graduated cum laude in 1966 with a BFA. He went on to do graduate study at Tulane University under Jules Struppeck and Jessie Poesch and received an MFA in Sculpture with a minor in American Art History in 1968.
Both schools emphasized cast bronze sculpture, and in the same year he received his MFA, Ludwig began a co-operative foundry with another sculptor. The first one-man show of his work at a professional gallery occurred the same year (1968), and he cast his first life-sized figure in bronze the following year.

Ludwig has managed his own studio/foundry operation in the New Orleans area since 1972. In 1985, he designed and built a 3,000+-sq. ft. art casting foundry/studio in Albany, Louisiana. Ludwig has cast all of his own sculpture as well as work for area sculptors and architects, and has the longest continuously-operating fine arts foundry in Louisiana.

Since he received his MFA in 1968, Ludwig has worked as a sculptor and participated in numerous juried and invitational shows, 29-one-man shows and 26 two-person shows. Three of the two-person shows were with Wolfgang Behl, his former sculpture professor at Hartford Art School. Ludwig produces approximately 35 new, unique bronze sculptures annually and is represented by galleries throughout the U.S.

Ludwig has served as visiting artist at colleges and universities in Louisiana, Florida, Georgia and North Carolina. He has also served on the faculties at Loyola University and Tulane University in New Orleans. He has been involved in work/study programs with the College of Design at Louisiana and Loyola University of the South that permitted his assistants to obtain college credits.

Commissions
In 1984, Ludwig was awarded a commission by the Louisiana Vietnam Veterans Leadership program to design and cast the official Louisiana State Vietnam War Monument. The monument, which consisted of four life-sized figures, was the first state monument to the Vietnam veterans in the United States, dedicated on Veterans’ Day, 1984.

In 1990, Ludwig was commissioned to do a life-sized portrait of philanthropist Malcolm Woldenberg with his grandson for Woldenberg Riverfront Park at the Aquarium of the Americas in New Orleans which he completed in the same year.

In April, 1992, Ludwig completed a commissioned work for the City of Orlando, FL consisting of two life-sized bronze citrus workers—one figure standing on a ladder, one seated on an orange crate, located in Leu Gardens in Orlando.

In 1996, he completed a sculpture of the fictional New Orleans character, Ignatius Reilly, from the Pulitzer Prize winning novel The Confederacy of Dunces by John Kennedy Toole. The life-sized bronze sculpture has been placed beneath the old D. H. Holmes’ department store clock (now a Chateau Sonesta Hotel) on Canal Street in New Orleans.

In late 1996, Mr. Ludwig was commissioned to create a life-sized bronze figure of the Crucified Christ by St. Luke the Evangelist Catholic Church in Slidell, LA. This figure, mounted on an 8’ cypress cross, was installed for the spring, 1997 Easter celebration. At the same time, he received a commission to do a sculpture of a life-sized figure of the Holy Mother Mary as a young girl. This was installed in their outdoor garden in August, 1997.

Most recently, Mr. Ludwig has completed a commissioned sculpture of two life-sized bronze figures, an older man and a young boy, seated in conversation, for Presbyterian Homes in Lake Forest, Illinois.

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Cris Pereby

May 4, 2013, 1:11 pm

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Cris Pereby

Cris Pereby born into a painter and sculptor family spent her childhood in Belgium. She was fascinated during her many museum visits by the Early Flemish painters such as Hans Memling, Jerôme Bosch, Peter Chistus, Pieter Bruegel and admired their magnificent art so delicate and full of spirituality.
She discovered later that a genius of impressionist painting , Vincent Van Gogh, lived close to her Belgium home before leaving for Paris and Arles.
Her destiny was that she should follow in his footsteps.
It is in the Paris region back in 1983 that she became self initialized in clay modelling, being inspired by the Egyptian sculpture and the media feed back of Camille Claudel. Within in a very short time she received many awards during regional exhibitions.
Later she exhibited her work in Cannes, St Paul de Vence, Honfleur and also in Belgium, Germany and the USA.
In 2005 she created for the municipality of Montereau-fault-Yonne a monumental sculpture of a ' winged woman' three metres high which decorates one of the city roundabouts.
In 2006 she settled in the south of France and created in the city of Arles the museum-gallery 'Gaston de Luppé' a place where new artists can be discovered. It's in this environment that the traditional Arlesian dress style will inspire her new work.

Christiane Perret-By pour l'état civil. Sculpteur et peintre française ayant vécu en Belgique jusqu'à l'âge de 15 ans.
En 1959, une participation au merveilleux film de Paul Meyer "Déjà s'envole la fleur maigre" dans le Borinage. Elle y sera la jeune fille qui invite un jeune sicilien à danser au bal des émigrés.
Ses parents déménagent à Cannes où elle vivra jusqu'en 1968. Année de son installation dans la région parisienne.
En 1983, elle découvrira le modelage et s'y consacrera.
Commence alors une période d'expositions, salons en France et à l'étranger.
En 2005, réalisation d'une sculpture monumentale "L'Envol" pour la ville de Montereau Fault-Yonne.
En 2006, elle revient dans le Sud de la France.
En 2008, elle crée l'association "L'Atelier Gaston de Luppé" à Arles.

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Pascale Archambault

May 4, 2013, 1:40 pm

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Pascale Archambault

Ma démarche artistique se concentre essentiellement sur la représentation du corps humain. À travers l’émergence des formes, je cherche à exprimer la dualité entre la raison et les émotions qui animent la nature profonde de l’être humain. Ainsi, l’image du corps est appréhendée et saisie de manière à en dégager les tensions physiques et mentales générées par une multitude d’états personnels. De l’ordre de l’intime et des sentiments, cette approche du corps tend à révéler certaines facettes de la complexité de l’être humain dans son apport et son rapport au corps social.

Mon corpus d’œuvres comprend plusieurs réalisations tridimensionnelles de portraits et de bustes. Dans mon travail de sculpture et d’installation, mes personnages se présentent souvent en un agencement de fragments de corps ou intégralement sculpté dans la masse. Exécutés principalement en ronde bosse par la technique de la taille directe; ils s’imposent sur pied, grandeur nature, surdimensionnée ou à échelle réduite. J’ai également produit une série de bas et hauts-reliefs composés de plusieurs personnages.

J’approche la représentation du corps humain en le plaçant dans un environnement que je construis en y associant différents éléments sculpturaux qui composent un ensemble cohérent. Des formes monolithiques, plus abstraites peuvent s’intégrer à la composition, contrastant avec les éléments figuratifs.

Le rendu des corps est souvent présenté par la rencontre entre des surfaces lisses et douces et un traitement vif et hachuré de la matière. J’ai développé cette technique apparentée à celle de l’ébauche afin d’inscrire une spontanéité gestuelle qui rend la matière vivante. Cette manière de faire vise à souligner les traces que la vie imprime sur le corps.

Exprimer la personnalité d’un sujet repose sur de nombreux détails : ceux des traits, des postures, des poses; la morphologie et la psychologie du personnage doivent transparaître. Sous une forme figurative, illustrer un sujet implique la question de la ressemblance, je travaille la plupart du temps à partie d’un modèle vivant pour ensuite morceler ou les agencer les formes de manière à transmettre l’énergie et le charisme particulier de se dernier.
L’expression du corps dans l’espace et la vérité du personnage, je les cherche dans l’attitude corporelle, un port de tête, un geste, un mouvement. À cet égard j’accorde une importance particulière à l’expressivité, au rendu des mains et traits du visage, aux détails tel que les plis de la peau.

De par la nature de ma pratique sculpturale, et le choix de matériaux durs et durables, j’ai orienté la diffusion de mes œuvres en privilégiant les symposiums internationaux de sculptures sur pierre. Les œuvres monumentales que j’ai réalisées se trouvent au Québec, en Argentine en Corée, en Uruguay au Brésil en France et au Guatemala.

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Lucas Weinachter

May 4, 2013, 2:59 pm

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Lucas Weinachter

Né le 27 décembre 1959, Lucas Weinachter vit et travaille à Paris

Avec ses derniers paysages, Weinachter nous avait entraînés dans un monde où une lumière sourde habitait les ombres de lieux graves et chargés de mystères. Il observait des horizons où la profondeur des noirs le disputait aux gris lumineux. C’est une identique précision qui guide le trait et sa palette est toujours aussi resserrée, quasi monochrome quand il scrute des visages, avec la même minutie et la même patience.

Les visages se font souvent face dans une introspection, un q uestionnement fait d’allers et retours permanents entre eux et eux, entre eux et nous. Ces hommes et ces femmes sont anonymes, au vrai sens du terme, et pourtant nous les connaissons tous sans pourvoir leur appliquer la moindre identité. Ils sont nous, nous sommes eux. Weinachter peint sans modèle. Il est seul à l’atelier avec des documents photographiques, souvent volontairement dégradés. Ici, ce sont des images anthropométriques qui ont orienté le travail. La rigueur des cadrages face/profil, la froideur des regards, le détachement, c’est juste un enregistrement du visage qui sert de point de départ.

Tout l’art du peintre sera d’aller chercher l’humanité, de la révéler, de l’interroger. Il faut faire disparaître les traits pour mieux les faire parler, guetter l’imperfection, la particularité, interroger l’autre, se retrouver dans un autre soi-même, se confronter. Il est donc naturel que la mélancolie s’installe dans ce dialogue entre plusieurs soi-même. C’est d’avantage un spleen baudelairien qu’une tristesse pathologique, c’est une tentative de prise de conscience qui laisse de côté une insouciance et une désinvolture qui ne sont plus de mise. Il y a une forme de désenchantement dans l’œuvre qui la rend grave et puissante.

C’est aussi une renaissance qui nous est proposée. D’ailleurs, regardez bien cette toile très claire où un homme en chapeau semble à peine esquissé. Regardez-le longuement, attentivement. Au début vous pensiez qu’il était en train de disparaître, les traits mangés par la lumière. En fait, il n’en n’est rien. L’homme au chapeau apparaît. Il se révèle comme dans un bain photographique et voilà qu’à son tour, c’est lui qui vous regarde, vous scrute, vous détaille avec tant d’insistance qu’il doit sans aucun doute…vous connaître.

Philippe Bréson

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Dans les années 1990, Lucas Weinachter (né en Lorraine en 1955) inaugure une carrière soutenue et encouragée par Louis Pons, dans l’art singulier des « reliquaires », assemblages de végétaux, d’objets hétéroclites ou organiques, de vieux papiers, d’ossements combinés sous globes de verre. Les objets trouvés au fil des années pour composer ses boîtes fantastiques, en volume, ont simultanément nourri les dessins et la peinture.

Il isole au fil du temps les objets destinés aux assemblages et commence à les déformer selon le principe de l’anamorphose, flirtant ainsi avec l’abstraction. Lorsque l’aventure des boîtes s’épuise à Paris, à la fin des années 1990, la peinture a déjà réinvesti l’atelier parisien de l’artiste. De la densité décorative des assemblages, à la morbidité esthétisante, qui fonctionnent comme des mises en scènes théâtrales, l’œuvre de Lucas bascule pour imager le silence et le vide à travers la « brutalité » d’une image simple et sans détour.

Les « Mélancolies » d’aujourd’hui, profils d’hommes et de femmes sur grands formats, dessinés à la mine de carbone et à la mine de plomb sur toile, rehaussés d’acrylique, succèdent à toute une série de natures mortes et de paysages, représentés par la galerie Felli depuis 2004. Ils mettent l’accent sur le visage, une nuque, de corps anonymes photographiés autrefois au profit de l’étude et de la recherche scientifique.

Les visages de la série ont été inspirés par une série de photographies anthropométriques. Lucas Weinachter précise qu’il puise depuis toujours son inspiration dans toute une série de documents qui datent des débuts de la photographie. En 1980, Lucas intègre l’école des Beaux-Arts de Paris, où il étudie l’architecture jusqu’en 1982. Cette orientation qui est un « choix dirigé » l’éloigne à peine de ses premiers penchants, puisque – peintre et dessinateur d’origine – il prend simultanément des cours de peinture à l’atelier de Vladimir Velickovik et éprouve la nécessité d’étudier l’anatomie : « Après avoir travaillé sur le corps et l’anatomie, il était normal que le visage m’intrigue » annonce Lucas Weinachter, comme pour justifier la présence des « Mélancolies » récentes dans son parcours.

Comparant ses « anthropomorphies » à des corps « inertes », ou plutôt immobiles, semblables aux moulages du XIXe siècle, il leur redonne aujourd’hui un visage, visage avant tout sélectionné pour ses particularités physiques : « Comme pour le corps, je ne suis pas à la recherche d’un esthétisme de pose, mais davantage de curiosités, de particularités dans un visage. » L’être humain appréhendé comme une « curiosité », Weinachter s’en est servi pour fixer sur la toile, la perte voire l’absence d’une identité qu’il questionne. Sans nostalgie, sans peine et sans regret, il réintroduit la mélancolie dans son antique définition : « Aujourd’hui on ne veut plus regarder la mélancolie (…) On l’associe hâtivement à la tristesse pour s’en débarrasser au plus vite (…) J’aime la définition de la mélancolie dans la pensée antique : elle signifiait un état qui permettait de vivre, de se dépasser, de chercher un sens à sa vie ce que nous faisons tous. »

Formaliste avant tout, la série est l’occasion pour Weinachter de couper, cadrer, tronquant ici et là, le nez d’un homme comme il tronque un peu plus loin le bec et la queue d’un corbeau, ces « oiseaux de mauvais augure, moi je trouve surtout qu’ils nous narguent en permanence… ». Il établit des face à face intrigants (en diptyque, donnant à voir un reflet inexact), cultive l’étrangeté d’une figure au caractère mélancolique et imagine – pour nous éclairer – des contours qu’il appelle « ruptures » : Corbeaux, Mémento Mori, Métaphore du sommeil, de l’éveil ou de l’endormissement. Cette série dans la série, intitulée « L’Antichambre », présente un personnage masqué de profil qui, initialement assis sur une chaise dans une atmosphère nocturne, se redresse, s’éveille, « prend conscience » pour l’artiste. Nous sommes ainsi invités à observer un jeu de miroir auquel nous sommes à peine conviés.

Au fil de la série, la problématique de l’état d’âme émerge des velours mats, noirs, sépias et gris de Lucas Weinachter : « Je ne voulais pas faire apparaître les numéros qui existent traditionnellement pour identifier ces images. Mon choix a aussi été guidé par la particularité de l’expression (ridicule parfois) mais toujours empreinte d’une sorte de gravité, une mélancolie, à l’image de la société aujourd’hui. »

Mais en réalité, Weinachter, exécute un léger retour en arrière avec ces visages qui nous transportent dans l’entre-deux-guerres et il continue de fixer les traces ou empreintes d’un passé peu lointain, invitant objets, animaux, silhouettes masquées, visages de face, de dos, de profil, à livrer le même récit.

Enfant, Lucas bénéficiait de balades dans les campagnes vallonnées de Lorraine, épaulées des récits historiques transmis par son grand-père instituteur. Au rythme de la narration, le paysage, balisé d’arbres se transforme et laisse « entrevoir » les stigmates des incursions militaires récentes. L’impression produite par le récit transforme peu à peu le regard que le jeune dessinateur pose sur le paysage jusqu’alors familier qui livre soudainement les vestiges de ses tourments passés. C’est ainsi qu’à partir des motifs les plus simples qui soient, Lucas Weinachter réintroduit une présence à peine perceptible ou identifiable qu’il nous faudra nous-même nommer, comme les hommes et femmes des « mélancoliques ».

Et quel que soit le sujet abordé, Lucas Weinachter fixe pour toujours le temps qui, lui aussi, ne fait que passer sur l’insignifiant. Il revisite les paysages, de son enfance, une assiette, un tabouret, une fleur séchée, en les chargeant d’âme, comme s’il fixait une forme de déclin dont il ne faut cependant aucunement s’attrister. À travers la figure humaine, aujourd’hui, il nous révèle une fois encore son unique sujet : celui de la vanité.

source

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Laurent Hours

May 4, 2013, 3:14 pm

≫ Next: Antoine Molinero

≪ Previous: Lucas Weinachter

Laurent Hours

Laurent Hours was born in Paris, where he currently works at the National School of Beaux Arts. His paintings feed on a peculiar atmosphere; he offers viewers snapshots of memory in dreamlike settings. He recounts stories with depictions comprised of natural elements, of the earth, water, stone and sun. He creates stories of towns which have vanished or perhaps never existed, of oceans and deserts splashed in ochre. His scenes are warm and strong, and settings in which his minute figures often attempt to claim it, like a string of froth clinging to the sand.

Laurent Hours works with varnish, he decided on such a unique medium because it allows him to produce works that evoke the feeling of ancient frescos and the sense of the passage of time. Hours finds inspiration in crumbling walls, ancient architecture, prevailing relics of ancient monuments. His application of archeological melancholy in his work reflects the state of the past. Over time, Hours has slowly given way to a simplified work, more poetical in its enigmatic images.

Hours combination of varnish and canvas produces backgrounds complete with numerous opposing layers of color mingled together creating a tangible sense of depth. Laurent Hours actively searches for deep and rich material to fill his canvases, similar to the patinas of years gone by. He then defines his oceans and deserts, constructs his towns, and then finally uses a light brush to draw in his mysterious figures.

Laurent Hours has had numerous solo and group exhibitions throughout Europe throughout the last 35 years. His work is featured in prominent public collections such as the Musée National d’Art Moderne in Paris, the Musée d’Art Moderne de la Ville de Paris, the Musée des Beaux-Arts in Bordeaux and the French Embassy in Nairobi. In addition to his presence in multiple public collections, Hours has received numerous awards and distinctions including the Prix Delmas de l’Institut de France in 2007 and the Grand Prix international d’Art Contemporain de Monte Carlo Prix de ICOM in 1980.

Parcours :
Il est né en 1946 .

Il expose depuis 1975.

Prix

. Prix des Arts plastiques de la Ville de Bordeaux

. Prix de la Jeune Peinture ''Septentrion''

. Grand Prix internationnal d'Art Contemporain de Monte Carlo

. Prix de l'Icom

Collections publiques

Musée National d'Art Moderne, Paris Musée d'Art Moderne de la Ville de Paris, Paris Musée des Beaux-Arts, Bordeaux Musée des Beaux-Arts, Saintes.

Réalisations

. Mur peint, 160 m dans le Marais, Ville de Paris

. Peinture murale General Electric, Evry

. Mosaïques à Bordeaux et à Saintes

. Fresque d'église, Tokyo

Ecrits

Sa peinture me surprend. Est-ce un fragment de mur ? Une fresque ? Je ne peux résister à l'envie de toucher cette matière nouvelle afin de me l'approprier.

quote

zzzzzzzz

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Antoine Molinero

May 7, 2013, 2:08 am

≫ Next: Belin - Miguel Ángel Belinchón

≪ Previous: Laurent Hours

Antoine Molinero

La peinture expressionniste de Antoine MOLINERO relève d’un réalisme à fleur de peau. Ses toiles accordent peu de place à l’aléatoire et n’épargnent pas la psychologie de ses modèles. Il traite le corps humain de la même façon que le paysage.
Dans son oeuvre, le plaisir esthétique des couleurs remplit la toile d’une présence magique. Chaque nouveau tableau possède son histoire propre, avec un début et une fin. Molinero donne sa manière personnelle, tant dans la traduction des ombres et de la lumière ; qu’il traite délibérément par la couleur, que pour l’étude et la représentation de l’attitude dans l’instant, qu’il ne fige en aucun cas, mais laisse, telle une séquence sonore, perdurer...
N’oublions peut être pas que ce peintre a été artiste chorégraphique.

Expressionist realism which manifestly plays on aesthetic pleasure; the sheer delight of playing with shadows and light; the power of chromatic scales…
In substance Antoine MOLINERO’S paintings continue to radiate a tremendous feeling for atmosphere and people.
Having enjoyed a professional dancing career alongside many illustrious choreographers, including R. Noureïev, S. Golovine, J. Lazzini, he went on to devote himself completely to painting.
And even though he has been exhibiting in Paris, Cannes, New York and Montréal for over twenty years, Antoine MOLINERO remains true to the island of Saint-Martin (West Indies) and is welcomed every year by loyal following of Connoisseurs and Collectors.

Faceboook Page

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Belin - Miguel Ángel Belinchón

May 7, 2013, 2:31 am

≫ Next: Camila Rocha

≪ Previous: Antoine Molinero

Belin - Miguel Ángel Belinchón

Linares is a small town in Andalusia which saw the grown this artist without realise that someday he trace like plague its streets. his begginings were tough and he was pursued as any other urban artist with real ambitions, but after fights based on colour, Belin got off, he received recognition from department of Heritage and and Young Art award from Jaen province.
Actually Belin has already kept a wide curriculum, his pieces have been exposed all around Spain and countries like Germany, Italy, United Kingdon, Netherlands, Brasil, Israel, Mexico, USA. even he painted for brands like Dockers or Carhartt and tatoo artists like Kat von D from L.A. INK.

Linares, una pequeña ciudad de Andalucía vio crecer a este Artista sin caer en la cuenta de que algún día dejaría huella cual plaga desde sus calles. Sus comienzos fueron duros y perseguidos como cualquier otro artista urbano con ambiciones, y lucha tras lucha a base de color, Belin obtuvo su fruto, recibió un reconocimiento de patrimonio de su ciudad y un premio de Arte Joven de la provincia de JAEN.

En la actualidad Belin ya tiene un amplio curriculum, su piezas se han exhibido por toda España y en paises como Alemania, Italia, Reino Unido, Holanda,Brasil,Israel, Mexico, Estados Unidos e incluso ha pintado para firmas como Dockers o Carhartt y para profesionales del tattoo como Kat von D de LA. INK.

Facebook Page here and here

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Camila Rocha

May 7, 2013, 2:54 am

≫ Next: Lisa Santos - Lisa Santos Silva

≪ Previous: Belin - Miguel Ángel Belinchón

Camila Rocha

"On these portraits (paintings and drawings), I strive to invite the viewer to watch a monolog as a spectator to this one singular feeling that I experienced as a person.
Memories of the life around me, people who shape me, who intrigue me.
As a young painter my challenge is to create a mood using the medium. As a researcher and an eternal student I have attempted to use different materials and surfaces to work on, to push myself in different approaches to convey this impression. More often I choose to express myself in a visual language, as if in a spiritual dream , melancholic and sublime, thus Romanticist, working with normal life models and evoking a hint of drama, as If I was writing a poem in a canvas or paper, trying to capture the momentum in which I feel more connected to a specific feeling that I wanted to be expressed."

Degree

2007-2009 Mixed media focus on Acrylic painting and Drawing Apprenticeship at Shunkun, with Sensei Kaoru Ito in Sao Paulo/Brazil.
2009-2012 LAAFA (Los Angeles Academy of figurative art), incomplete Bachelors' program.
2009 3 months Apprenticeship of Old Masters painting technique at Adrian Gotlieb studio, Los Angeles/CA.
2010-2012 9 months Apprenticeship with focus on Painting and Drawing at Richard Morris studio in Van Nuys/CA.

Awards

2010 $5000 Schoolasship winner at LAAFA (Los Angeles Academy of figurative art)

Facebook Page here and here

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Lisa Santos - Lisa Santos Silva

May 7, 2013, 3:39 am

≫ Next: Yves Crenn

≪ Previous: Camila Rocha

Lisa Santos - Lisa Santos Silva

Lisa Santos Silva nasceu no Porto, em 1949, onde frequentou a Escola Superior de Belas Artes, mas radicou-se há anos em Paris, cidade onde vive e trabalha. Apesar disso, o facto de ter crescido em Angola marcou-a profundamente no plano cultural, e o imaginário dessa experiência repercute-se em grande parte no seu trabalho. A sua carreira artística, sobre a qual têm escrito vários intelectuais prestigiados, desenvolve-se em boa medida em Portugal, onde expõe com regularidade. António Tabucchi é um dos que escreveu sobre esta pintora, tendo destacado a riqueza imaginativa do seu universo.

Lisa Santos Silva começou a expor colectivamente em Lisboa, em 1975, no Museu Nacional de Arte Antiga. Expõe depois numa colectiva em Paris, numa mostra promovida pela Fundação Calouste Gulbenkian. Seguem-se participações em colectivas na Suécia, no Museu de Arte Contemporânea de Brasília, na Galeria Jean Briance, em Paris, em Copenhaga, em Lisboa, na Sociedade Nacional de Belas Artes, ou no Museu de Serralves, onde integrou a Perspectiva Alternativa Zero, réplica de uma mostra organizada em meados da década de 70 por José Ernesto de Sousa e que constituiu um marco na alteração da mentalidade estética relativamente à produção artística realizada em Portugal. A pintora também tem marcado presença na FIAC, Feira Internacional de Paris.

Quanto a exposições individuais, a primeira teve lugar em 1973, na Galeria Prisma, em Lisboa. Cerca de uma década depois, em 1984, inicia uma actividade expositiva regular repartida por Paris, Bruxelas e Lisboa. Em 2003 e 2004 apresentou-se em mostras individuais na Galeria 111, respectivamente em Lisboa e no Porto. Realizou também em 2004 uma exposição individual no Museu do Traje, em Lisboa.

“O que Lisa Santos Silva pinta, quando pinta olhos, dos mais negros aos mais transparentes, bocas, narinas, orelhas, é que de onde menos se espera, de lá onde estava e está o vermilhão do amor, do desejo, da amizade, vem também a luz que cega e amputa. Olhos que olham como num instantâneo essa dor, por ela trespassados, arrebatados, e que nos olha a nós como cúmplices, não do seu espanto, mas da força mutilante” escreveu Maria Belo, intelectual ligada à psicologia e uma figura emblemática da geração de intelectuais portugueses que protagonizaram os anos 60. Palavras que se ajustam na perfeição ao conjunto de telas aqui apresentadas. Nela sobressai um universo feminino e poderoso, por onde ecoam também algumas heranças surrealizantes.

fonte

Obras roubadas - artigo

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Yves Crenn

May 7, 2013, 5:20 am

≫ Next: Radek Rola

≪ Previous: Lisa Santos - Lisa Santos Silva

Yves Crenn

Yves Crenn was born in Vernon, France in 1969. He began painting in 1985 following the tragic death of his brother; the creation of art serving as an outlet for his sorrow. Five years later he enrolled at Les Beaux Arts de Rouen where he studied oil painting and drawing. His talent was recognized early on and he was asked by his professors to represent the school in Germany by participating in a large group show in Braunshweig. This was the beginning of a long career professionally exhibiting his work throughout Germany and beyond.In 2003, Crenn began working with dry pastels and watercolor to create the unique textures that define his current work. These serene, harmonious paintings are a perfect combination of precise draftsmanship and free brushstrokes. He uses muted, natural tones that compliment the delicate nature of works on paper.His first solo exhibition in Rouen was met with high acclaim from critics. More than just conveying beauty, there is a strong emotional presence in his paintings. Artension quite accurately describes Crenn’s work as, “an expression of an individual interior need.”

source

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Radek Rola

May 7, 2013, 5:56 am

≫ Next: Ronan Goti

≪ Previous: Yves Crenn

Born in 1979, Poland.

I strive to create undistorted shapes which are deeply emotional and symbolistic. By focusing on faces as the main subjects for my work I try to portray all aspects of human nature through mood and character. A strictly controlled use of colour as well as an emphasis on light and shadow are key elements in my efforts to produce pieces which are powerful and engaging.

Education
Master Degree in Business Management. Self-thought painter.

Regular Exhibitions:

2005 - 2010 : Oisin Gallery(Dublin, ROI),
Cherrylane Fine Arts(Delgany, ROI),

2009 - 2010 : Red Rag Gallery(Bath, UK)

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Ronan Goti

May 7, 2013, 6:11 am

≫ Next: Alexander Rohmistrov

≪ Previous: Radek Rola

Ronan Goti

Statement

My paintings attempt to show humanity in harmony with nature and also try to capture a balance that exists when the natural world is left to itself. My work reflects my views about how I would like the world to be. I observe the beauty around me and try to capture that in my paintings, so that others may experience what I see and feel.

Ronan Goti has experienced a significant measure of success during his career. First achieving recognition as an accomplished seascape painter, most notable for his depictions of children playing on Dublin’s shorelines. Landscape and nature scenes have become increasingly prominent in the artist’s oeuvre.

Soft, seamless brushwork, careful draftsmanship, and pastel hues created by subdued filtered light are the essential traits of Ronan’s understated, reflective scenes of nature. Landscapes exhibit a sensibility to solidity of the ocean, expansive skies and effects of precipitated light. Nature is never harsh or austere. When waves swell toward the viewer, Ronan avoids the representation of climactic breakers, as even his most dramatic seascapes are characterised by tranquil composure. Yet it would be a mistake to ascribe this as an attempt to create passive images. Although he is determined to adopt this taming process, his canvases retain an urgency, their sense of being an excited dispatch from remote places. In many of his paintings, he is striving to express the same idea; a balance between serenity and turmoil, permanence and flux. The dualities of these emotions inherent in Ronan’s work stimulate a feeling of calm and meditation.

The inimitability of Ronan’s technique is unexpectedly complex in ways not instantly apparent. Executing an average of ten works per annum is testament of his incredible attention to detail and fastidiousness as each piece demonstrates his acute awareness and acknowledgement of the importance of drawing and control of tone. His paintings are defined by a certain opalescent effect created by building up thin layers of pigment,. A closer view reduces figural representation into intricate arrangements of colour.

So convincing are these images that it is tempting to conclude that we are being offered direct access to the scene. This is illusory, of course; there is a deeper reason, which only becomes evident in conversation with him. Repeatedly, he speaks of the awe that nature inspires in him; whenever he is praised for achieving certain effects, he shifts the conversation back to the physical place he was privileged to witness, the light, the behaviour of seawater and so on. This is more than a statement of personal faith; it is a questioning of the notion that artists can create new realities. In judging his achievements so humbly, Ronan underestimates his own interpretative gifts. His best paintings are much more than echoes of a superior natural reality; they are highly personal, and powerful in a different way form the phenomena that inspired them. It is this tension between the reluctance to falsify and the artistic instinct to create freely, that makes Ronan’s art so interesting.

In this continually evolving series of work, much excitement remains to see where Ronan will take us next.

Antoinette Sinclair,

Stone Gallery, Manager

Facebook Pages here and hereh

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Born 1978 in Dublin, Ireland.

Full-time professional artist since 2003.

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Alexander Rohmistrov

May 7, 2013, 1:36 pm

≫ Next: Sihua Qian

≪ Previous: Ronan Goti

Alexander Rohmistrov - Александр Рохмистров

Born in 1962, in the village of Birch, the Tyumen region, now he lives in the city of Cherkessk, Karachevo Cherkess Republic. he is a professional artist, working mainly in the genre of "Fantasy." but also in literary work.

His works can be found at A. Rohmistrova Gallery of artist A. Rohmistrova

also here

Facebook Page

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Sihua Qian

May 7, 2013, 2:36 pm

≫ Next: Riusuke Fukahori

≪ Previous: Alexander Rohmistrov

Sihua Qian

Education:

FuJian Arts Design School 1981
Academy of Arts and Design Tsinghua University 1987
The Certificate of National Sculpture Initiation and Designing for Cities Certificate No.0712.

Facebook Page

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Riusuke Fukahori

May 8, 2013, 3:04 am

≫ Next: Josef Kote

≪ Previous: Sihua Qian

Three Dimensional Painting

Riusuke Fukahori - Painting Resin work

Japanese artist Riusuke Fukahori paints three-dimensional goldfish using a complex process of poured resin. The fish are painted meticulously, layer by layer, the sandwiched slices revealing slightly more about each creature, similar to the function of a 3D printer. I really enjoy the rich depth of the pieces and the optical illusion aspect, it's such an odd process that results in something that's both a painting and sculptural. Wonderful.

www.artFido.com
Japanese artist Riusuke Fukahori paints three-dimensional goldfish using a complex process of poured resin. The fish are painted meticulously, layer by layer, the sandwiched slices revealing slightly more about each creature, similar to the function of a 3D printer. I really enjoy the rich depth of the pieces and the optical illusion aspect, it's such an odd process that results in something that's both a painting and sculptural. Wonderful.

www.artfido.com/popular-art

1973---Born in Aichi Prefecture.

1995---Graduated from Aichi Prefectural University of Fine Arts and Music Department of the Faculty of Fine Arts design.

1999---After retirement, and works begin.

2000---When the slump, the first time be charmed by the humble goldfish were kept for seven years. Referred to as a "goldfish scooping" this writer.

2002---Devised a technique of pouring the original resin in the bowl, the goldfish that draw directly on it, to present their works.
Then, trying to express through a variety of goldfish not caught in the genre.

2005---Tokyo International Forum exhibition. Art. (10 years) Tokyo exhibition space Shops / Aichi M cubic / head office Matsuzakaya exhibition
Shimane / Hamada Children's Museum of Art, Shimane Prefecture Art Exhibition Riddle

2006---(Solo exhibition - 10) Aichi Gallery IDF / exhibition

2007---Gallery Aichi APA / exhibition
TCAF Tokyo / (07.08 years)

2008---Osaka ART OSAKA /
Shanghai SHANGHAI ART FAIR 2008 /
Taiwan ART TAIPEI 2008 /

2009---Galerie an der Pinakothek der Moderne / exhibition in Munich, Germany
YOUNG ART TAIPEI, Taiwan /
lineart The Art Fair / Belgium

2010- 2011---TOP GALLERY HOTEL ART FAIR ASIA Hong Kong /
Art KARLSRUHE two thousand and ten / Germany Tokyo Art Fair / Contemporary Craft / Tokyo Shibuya Seibu exhibition gallery ICN / London, UK exhibition

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