Quantcast
Channel: Artodyssey
Viewing all 1856 articles
Browse latest View live
↧

Brian Richard Taylor

January 28, 2013, 9:27 am
$
0
0









As with the Medieval Italian original, my Harlequin is not gender specific (Alequino-Alequino). The traits I attribute to Harlequin can be observed in either sex.

I use Harlequin to represent that so familiar individual we see manipulating the goodwill, trust and loyalty of those about them. He is one of those who believe that altruism is a weakness to be exploited, thereby providing confirmation of his authority and superiority, not only to others but also to himself. If questioned, he is unable or unwilling, to recognise that any of his actions could adversely effect others.

Usually I use nudity to depict vulnerability and/or naivety although there are occasions when it is intended to suggest surreptitious manipulation. I rarely intend nudity to be provocative or erotic.
I am somewhat reluctant to discuss my work in any greater depth, as I believe that a work of art must stand on its own ‘presence’. Art must be able to speak for itself. Because of this and the conviction that art is more visceral than cerebral, I feel it is problematic for an artist to attempt verbal explanation. We, each of us, have our own highly personalized library of implanted references, and regardless of the level of sophistication, all interpretations are valid.

Furthermore, I have noticed that the ‘explanations’ offered by artists, often seem to be more an exercise in marketing and self promotion than occasions of aesthetic revelation. Even so, for myself, I am much more comfortable with tongue in cheek than plum in mouth.

Brian Richard Taylor








1934Born Perth, Western Australia (WA)
 First memory of drawing on bed head with yellow crayon.
 

1976Resigned from R.A.A.F. as Warrant Officer.
1972-1974Stationed Sale, Victoria. Instructed local art group.
1971-1972Stationed South Australia – Exhibited with Contemporary Art Society, further service Vietnam, (casualty), did not paint for some years from this point.
1968Service in Vietnam (Tet Offensive).
1966Service in North East Thailand.
1964-1967Stationed Sydney - studied under Desiderious Orban.
1961-1964Stationed Wagga, New South Wales (NSW). Exhibited with local art group. Attended workshops with Sali Herman, Guy Warren, Justin O’Brien, Jim Gleeson and John Ogburn. Won several country prizes for painting.
Accepted invitations to instruct Art Groups at Tumberumba, Tumut, Young and Leeton.
1958-1960Stationed Rathmines, NSW, mentored by neighbour, Bill Dobell, experimented with carved wood and small lost wax sculptures.
1956Enlisted in R.A.A.F. - Ground defence duties.
1949-1956Various employment including cadet artist, housepainter, signwriter.
  






1996Won York Painting Prize
1995Won Northam Sculpture Prize
1986Won Melville Sculpture Prize
1985Commendation Albany Prize
 Won “Houghton Sculpture Prize” Gomboc Gallery
1984Won Albany Woollen Mills Prize
1982Commendation Albany Prize


  

1993Andrew Drummond Memorial, Carnarvon Civic Centre Gardens
 Numerous portrait and genre commissions over the years

Murdoch University
Hollywood Senior High School
Leeton Shire Council, NSW
Albany Woollen Mills
Private collections in United Kingdom, USA, Germany and mainland states of Australia.




↧
Search

Margaret Woodward

January 28, 2013, 9:49 am
$
0
0












Painter, draughtsman and lecturer. Born Sydney, Australia. Won special Government Scholarship to the National Art School, 1956. Studied National Art School, 1956 – 1960. Participated in many group shows in New South Wales and Victoria 1961 – 1967, including “Young Sydney Artists”, Clune Galleries Sydney. “Young Contemporaries”, Blaxland Galleries, Sydney. “Young Artists” exhibition, Museum of Modern Art, Melbourne. Frequent exhibitor during this time in the Archibald and Wynne Competitions, with works included in the selections for exhibition in Melbourne and Adelaide State Galleries.
  
Travelled overseas in 1967, based in London, travelled to Holland and Paris, and later to Holland, Switzerland and France in 1972, and Paris, 1995. Taught part-time in schools and various technical colleges, (NSW and WA) 1961 – 1972, then full-time lecturer at the Western Australian Institute of Technology. (Curtin University) 1972 – 1978. Resigned in order to return to Sydney. (Graduate Diploma in Education, Sydney Teachers’ College, 1981. Taught, 1979 – 1985 Hornsby TAFE.
  
During 1970s, she travelled to Java and Hong Kong, and also participated in an expedition along the Canning Stock route to Lake Disappointment, Durbar Springs and Warburton, and since has travelled extensively throughout remote regions of Australia; in Kenya, overland to Koobi Fora (eastern edge, Lake Turkana) and to the Ethiopian border.
  
First solo exhibition: John Gild Galleries, Perth, 1972. Exhibitions regularly since, in all capital cities 
throughout Australia.
  
Major group exhibitions include “Contemporary Painting”, University of Western Australia, “Western Australian 

Artists” Art Gallery of Western Australia, “10 Western Australian Artists” Art Gallery of Western Australia, 
“Women in Art” WA. Institute of Technology. Georges Invitation Exhibition, Melbourne. McCaughey Invitation Exhibition, Melbourne 1979. “Mandorla” invitation exhibition, WA, Wynne Prize retrospective, S.H. Ervin Gallery, Sydney. Drawing survey show. “Drawing on Inspiration” Ivan Dougherty Gallery, Sydney. Art Gallery of New South Wales touring exhibition, (Sulman), 1995 (Archibald) 1996.
  






Inside Looking Out, an exhibition of key art works by Margaret Woodward will be held at the Parramatta Heritage Centre April to June 2003 subsequently, to tour to regional art galleries.
  
Many awards, including the Wynne prize, (1971) Art Gallery of New South Wales. The Portia Geach Memorial prize (twice). The Kedumba prize (Blue Mountains, NSW) Le Gay Brereton prize for drawing, Art Gallery of New South Wales.
  
Represented in Art Gallery of New South Wales, Museum Art Gallery Northern Territory, Art Bank,
National Trust  and regional galleries, also in various university, major corporate and private collections throughout Australia, and in Europe and the USA.


















↧
↧

Pennie Pomroy

January 28, 2013, 11:31 am
$
0
0




Pennie Pomroy’s artworks explore what is often lost in adult life: a vivid sense of imagination and whimsy. Juxtaposing fantasy with the everyday, her sumptuous paintings are reminiscent of the inspired nonsense of Alice in Wonderland, evoking an uninhibited expression of youthful exuberance. 

“Why sometimes I’ve believed as many as six impossible things before breakfast” - Lewis Carroll

A playground of animals and people comes to life revealing the beauty and magic that can be created by simply allowing worlds to be imagined. Her current series of heroines and their animal counterparts uses the language of feathers and fur to expose the human personality beneath. 

Based in Sydney, Pennie has studied both internationally and in Australia, completing a Bachelor of Fine Arts (painting) at the National Art School in 2003. Using a variety of media, including oil painting, printmaking and silver jewellery, she enjoys developing ideas through different forms. Her jewellery combines classical elegance often with a playful twist. Working in sterling silver, titanium, enamel and felt there is a rigor to her technique that ensures a superb finish and original style. Pennie has also communicated a love of art in its many forms, as a senior school visual arts teacher.











born                  1979, Sydney
nationality        Australian

education

2005,  Graduate Diploma in Education (Visual Arts) - University of Technology, Sydney 
2004,  Postgraduate studies - Printmaking - The Slade Institute, London  
2003,  Bachelor of Fine Arts - National Art School 
2000,  Bachelor of Arts - University of Sydney

awards

2003,  Fourth Floor Gallery Prize for Excellence in Painting, National Art School 
2003,  Visa commission for the Rugby World Cup
2003,  Peoples Choice Award, Art on the Rocks 
2000,  1st Prize Noel Chettle Senior Art Competition University of Sydney 
2000,  2nd Prize Art and Photographic Competition University of Sydney




↧

Audrey Pongracz

January 29, 2013, 2:56 am
$
0
0










Bio

Audrey was born in Detroit, Michigan in the summer of 1979 and was raised in the Mexicantown area of southwest Detroit.   A self taught painter, Audrey is constantly working to hone and refine her craft. 














Statement

I believe art should be attainable to everyone, visually or mentally.  This is something I strive for in my work. 
Art should be a viewing experience.  I love when I can look at a painting and be entranced by it, in awe of its application or just the wonder of it.






↧

Jesús Curia Pérez

January 29, 2013, 3:31 pm
$
0
0





"While Perez's interest, the exotic, non-Western individual, lies at the core of his work, he is not wed to the human form - Perez meddles with negative space, relating it to form and object. Working primarily in bronze, Perez removes space from conventionally fleshed out areas of the body. This manipulation of space makes the viewer intensely aware of how one inhabits and interacts with space."



























↧
↧

Charles Avery

January 29, 2013, 4:30 pm
$
0
0










"Charles Avery is one of the most exciting new artists to emerge in the UK in recent years. Born in Mull in 1973, Avery has worked across a range of different media – using large-scale drawings, models, diagrams and text – his work throughout being characterised by what has been described as 'formal beauty, humour and a spirit of philosophical enquiry.' His most high profile project to date was the epic 'Islanders', where, over a ten year period and inspired by his childhood on the Inner Hebrides, he described the topography and cosmology of an imaginary island."


















↧

Avery Palmer

January 30, 2013, 3:04 am
$
0
0












Painting, Drawing and Ceramic (and I love them all)

"My work seeks to explore the nature of humanity and to express the inherent complexity and mystery of our relationships to the world we live in and to each other.  Combining familiar imagery in unfamiliar ways, I invent scenarios that can be thought of as puzzles with no right or wrong solutions—and perhaps no solutions for them are possible at all.  These puzzles are analogous to the changing and perpetually unresolved nature of life itself.

​The multiplicity of possible readings of symbolisms in my work is central to my concept. However, there are certain elements that I see as being symbols or metaphors for specific aspects of human experience. In my sculptural work there is a particular emphasis on the play between the interior and the exterior. Small figures timidly peering out through windows and doors from inside hybrid architectural/bodily forms symbolize a human desire for an unattainable sense of security. The mysterious, hidden, interior spaces of my sculptures speak about the disparity between our external appearances and the aspects of our inner selves that are unknowable by others. The scenarios in my work usually seem to suggest that some sort of performance is taking place, partially due to the vaguely circus-like imagery that I often use. This idea of performance in my work can be seen as a metaphor for the the performance aspect that exists in each of our lives. We each find ourselves in certain situations in which we must “act”. Our lives can be seen as being made up of a series of these situations.​













Certain elements in my work make nostalgic references to earlier periods in history. The dress of the figures I invent often recalls styles of the 19th century. Other elements in my work even have a medieval look. I'm interested in this historical quality as a way of creating distance from the reality we are familiar with, thereby encouraging the viewer to use his or her imagination while contemplating these scenarios.

Life is amazingly complex and perpetually filled with unanswerable questions, yet each of us must find a way to make some kind of sense of it all. It is in human nature to simplify the world around us so it can be better understood and articulated, but there is inevitably much that is missed when we do this. It is our condition of limited understanding of reality that prompts us to dream and to use our imaginations. My work addresses this condition."​




























↧

Joe kowalczyk - Joko - Joseph Kowalczyk

January 30, 2013, 5:08 am
$
0
0











Joe Kowalczyk

Born 1980 Chicago, United States.
Lives and works in Berkeley, California, United States.
It was just north of Chicago in Niles, Illinois where Joe spent his adolescence following his passion for drawing. In high school Joe’s heart raced when he discovered ceramics and he took to it naturally. Nothing was more exciting to him than ceramic sculpture week, but ceramics seemed impractical and impossible of being practiced outside of school. By default he turned his attention back towards drawing and music. After high school Joe was advised to pursue a more lucrative career, but his heart confessed; he could not pursue his path in life as a computer technician after realizing his true love for sculpting.






↧
Search

Neil MacDonell and Sally MacDonell

January 30, 2013, 5:56 am
$
0
0





"Sally makes the female figures. Those made since November 2005 are glazed and coloured with underglaze colour (stoneware).
Neil creates the masks, faces windows, suns, hearts and double faced forms. All his work is wall hanging unless stated otherwise. He uses cobalt, copper and iron oxides under/over glaze (stoneware)."



















Neil MacDonell
Professional member of The Craft Potters Association
Born in Southwark, London. My Father was an architect and my two sisters and I had a lot of exposure to the arts and crafts, particularly old buildings! I remember becoming aware of the creative effects of fire when a neighbours wooden garage containing an ancient ash framed van caught fire. When extinguished there stood a fascinating labyrinth of standing charcoal. When I first started working with clay at college it was the transformation of materials during firing that held me in thrall - it still does. As an art teacher I began working with clay in the classroom. The necessity of devising modelling and handbuilding projects, and the uninhibited and energetic originality shown by my pupils opened my eyes to the potential of the material as an expressive and figurative medium. After 4 years I returned to college to work with clay as my main subject for a Bachelor of Education degree. The incidental commercial success of my degree show paid for my first kiln and I worked hard over weekends and evenings to develop what I had started. I also remained committed to my teaching career, becoming specialist ceramics teacher, head of department and occasional college lecturer. My confidence in my own work grew and I have been a full time ceramicist since 1992.
INSPIRATION
As a 6 year old visiting the Egyptian rooms in the British Museum I was overwhelmed by the textures, patterns and sinister esoteric nature of the mummified remains. I remain interested in disguise and concealment as expressed in primitive cultures and the way that the damage found in archaeological artefacts speaks of their history. My fascination with the human face has made it an obvious choice as a focus for my ideas, though I am conscious of how difficult it is to avoid clichés and pastiche. Yet it is the ubiquity of images of the face throughout the history of humankind that draws me to them.
PROFESSIONAL ACTIVITIES
8 Pieces of work in public collections in UK and Spain.
Work represented in private collections in Australia, Europe, Japan, Taiwan, and USA.
Lectures and workshops given to:
The Northern Potters Association, Scottish Potters Association, Southern Potters Association, Kent Potters and the Wye Potters.
1991 Received British Council Award for teaching to work in America.
Travelled 10,000 miles around USA visiting teaching centres, meeting artists/gallery owners and selling work.
























Sally MacDonell
Professional member of The Craft Potters Association
I am continually fascinated by people. I'm a great observer of people and thrive on interaction with others. I explore the human condition by modelling the female form from clay; changing the mood and feeling of a piece by the positioning of a shoulder or hand.
“In a world where so much energy is put into noticing the differences between people, I look for the feelings, desires, mannerisms we all share, elevating the ordinary into something special. We are all so curious.”
SMOKE FIRINGS
Sunday afternoons in Boston, Lincolnshire were often spent in the garden with my Dad. As a child I took delight in poking sticks into the ritual bonfire of a weekend. Little did I appreciate as an adult I'd have bonfires for a living! My smoke firings are fast and have a lot of flames, really more flames than smoke. I use wood shavings and newspaper and the firing lasts around 10 minutes. Hot blackened figures are precariously lifted out of the flames and left to sizzle on the grass. When cool the figures are cleaned and waxed. It's a wonderfully exciting and smelly process. A frozen moment of fire captured in the surface patina of the figures.
GLAZING
Having smoke fired for 12 years; I have recently rediscover glazes. Prompted into action by a desire to create large scale outdoor pieces, I'm developing a range of work using underglaze colours mixed with engobe and fired to 1260'. I'm drawn to the colours found in the Greek terracottas from the second century BC. Surfaces that show experience, having been eroded and fragmented. When I apply the glaze it's very much like painting. It's a very spontaneous process which fits with the way I hand build.
PROFESSIONAL ACTIVITIES
2004 Commissioned for P&O Cruises to make three sculptures for its new ship Arcadia.
Lectures and workshops given to Midland Potters, Northern
Potters and Southern Potters Association and the Scottish
Potter's Kindrogen Camp.
1998 nominated for an Arts Foundation Fellowship.
1996 Crafts council Setting Up Grant Recipient.
Self-funded an expedition traveling 10,000 miles around America, visiting teaching centers and universities, meeting artist/gallery owners.
↧
↧

Claudia Olds Goldie

January 30, 2013, 8:33 am
$
0
0



..."Claudia Olds Goldie portrays mature women with candor. In A Weight Bearing Exercise, the figure wears gym gear and has lifted, with little effort, a barbell satirically bedecked with the accoutrements of the modern “superwoman”: cellular phone, computer keyboard, teddy bear, frying pan, dog bowl, paintbrush, books. Olympic Dust exposes a tired, plump swimmer wearing an old-fashioned swim cap. Goldie’s “girls” are whimsical but not a bit funny. While once we judged women primarily by their sexuality, the criterion has shifted, but is no less harsh, Goldie suggests. The haggard Olympian is the antithesis of the celebrated male athlete, who even in pudgy retirement is paid to tout cars or comment on televised sports events.

American Craft Magazine - Feb/Mar 2003"





Awards

2012  People’s Choice Award, State of Clay: 7th Biennial National Exhibition

2011  Kiln God Residency Award, Watershed Center for Ceramic Arts

2009  Juror's Award, State of Clay, 6th Bienniel National Juried Exhibition

2008  SAC Artist Award - The SAC Artist Awards encourage New England craft artists who demonstrate a mastery of their craft media and who create original and innovative work. Along with this three group exhibition, each winner receives a $3,000 cash award.

2002  Best Sculpture, State of Clay, National Juried Ceramic Exhibition

2001  Merit Award, Ceramics 2001 North American Clay Exhibition

2000  First Prize Sculpture, N.E. Open Photography and Sculpture Exhibition

1999  Best of Show, State of Clay, National Juried Ceramic Exhibition

1986  Honorable Mention, New England Sculpture Association

1985  Third Prize, New England Sculpture Association

1983  Byron C. Cleveland Memorial Award, Copley Society

1983  First Prize Sculpture, Brockton Summerfest

1981  First Prize Sculpture, Brockton Summerfest

1980  First Prize Sculpture, Hull Harbor Festival









↧

Marc Quinn

January 30, 2013, 9:06 am
$
0
0





Marc Quinn’s wide-ranging oeuvre displays a preoccupation with the mutability of the body and the dualisms that define human life: spiritual and physical, surface and depth, cerebral and sexual. Using an uncompromising array of materials, from ice and blood to glass, marble or lead, Quinn develops these paradoxes into experimental, conceptual works that are mostly figurative in form.








Quinn’s sculpture, paintings and drawings often deal with the distanced relationship we have with our bodies, highlighting how the conflict between the ‘natural’ and ‘cultural’ has a grip on the contemporary psyche. In 1999, Quinn began a series of marble sculptures of amputees as a way of re-reading the aspirations of Greek and Roman statuary and their depictions of an idealised whole. One such work depicted Alison Lapper, a woman who was born without arms, when she was heavily pregnant. Quinn subsequently enlarged this work to make it a major piece of public art for the fourth plinth of Trafalgar Square. Other key themes in his work include genetic modification and hybridism. Garden (2000), for instance, is a walk-through installation of impossibly beautiful flowers that will never decay, or his ‘Eternal Spring’ sculptures, featuring flowers preserved in perfect bloom by being plunged into sub-zero silicone. Quinn has also explored the potential artistic uses of DNA, making a portrait of a sitter by extracting strands of DNA and placing it in a test-tube. DNA Garden (2001), contains the DNA of over 75 plant species as well as 2 humans: a re-enactment of the Garden of Eden on a cellular level. Quinn’s diverse and poetic work meditates on our attempts to understand or overcome the transience of human life through scientific knowledge and artistic expression.









Marc Quinn has exhibited in many important group and solo exhibitions internationally including Sonsbeek ’93, Arnhem (1993), Give and Take, Victoria and Albert Museum, London (2001), Statements 7, 50th Venice Biennale (2003) and Gwangju Biennale (2004). Solo exhibitions include Tate Gallery, London (1995), Kunstverein Hannover (1999), Fondazione Prada, Milan (2000), Tate Liverpool (2002), Irish Museum of Modern Art, Dublin (2004), Groninger Museum, Groningen (2006) and MACRO, Rome (2006), DHC/ART Fondation pour l’art contemporain, Montréal (2007) and Fondation Beyeler, Basel (2009).






A replica of the iconic sculpture 'Alison Lapper Pregnant' took centre stage at the London 2012 Paralympic opening ceremony.


↧

Kim Roberti

January 30, 2013, 5:35 pm
$
0
0






























"I love painting...it's my life! I love the endless series of tasks exploring the abstract elements of lines, shapes, values, colors, textures and edges!"
















"Looking for the right lively-hood and wanting to work with something I really, really love and the desire to re-connected with my childhood joy, I found painting. I have made painting my full time job since 2000. I have tried every medium and genre, and find that I love them all. It is a wonderful journey of self-discovery. "

source







↧

Guy Wilga Lerat

January 31, 2013, 3:38 am
$
0
0






Guy WILGA LERAT est né le 10 Janvier 1946 en remplacement de son frère Jean, mort pour la France en 1944 à l’âge de 12 ans.
Jusqu’à 17 ans, ses parents l’ont appelé JEAN quand il faisait quelque chose de bien et GUY quand il faisait des bêtises.
Son besoin d’exister pour lui-même l’a amené à laisser des traces personnelles tangibles tout au long de sa vie, comme l’a fait en son temps Salvador DALI, certainement pour les mêmes raisons.

Après des études supérieures en Mathématiques et Beaux-Arts, il s’est d’abord dirigé vers la photographie et le grand reportage qui lui ont permis de concilier “aventure” et “pratique du sport à haut niveau” (volley-ball).
Ensuite, après une brève expérience de professeur aux Beaux-Arts d’Orléans, il effectue sa première mutation importante vers le monde de la Publicité. Membre de la Maison des Artistes depuis plus de 20 ans, il exprime son talent de concepteur tant par les mots que par les images. Roughman-vedette chez SURCOUF, il a réalisé les story-boards des films qui ont marqués notre époque et illustré les plus grandes campagnes publicitaires.

Rêveur professionnel comme il aime se définir, il vend jusqu’à aujourd’hui, aux agences
de publicité, les idées de campagnes pour lesquelles elles sont payées.













↧
↧

Mary O'Malley

February 1, 2013, 1:58 am
$
0
0







"I  am a ceramic artist currently creating work out of a barn on the south shore of long island, New York. Please see my website for a current artist's statement, resume and more.


Mary O'Malley

Education
The University of the Arts, Philadelphia BFA Craft-Ceramics 2007"








↧

Rupert Smissen

February 1, 2013, 2:22 am
$
0
0






About

Rupert is an illustrator currently living and working in London. He studied at Norwich University College of the Arts, where he received a First-class honours degree in illustration. Now based in the sunny east end of London, he likes drawing, has pencils and will travel.

Exhibitions & Awards

April 2011 – 'Growth' exhibition at Stew Gallery, Norwich
December 2011 – 'Draw' exhibition at Stew Gallery, Norwich
2012 Hermione Hammond Drawing Bursary Winner 
2012 D&AD Yellow Pencil winner in Illustration category 
2012 D&AD Graduate Academy








↧
Search

Elena Cermaria

February 1, 2013, 2:51 am
$
0
0








Born March 76
Lives and works in Italay









↧

Elia Fernández

February 1, 2013, 3:42 am
$
0
0


Elia Fernández spanish freelance illustrator living in Den Haag, Netherlands
























↧
↧

Oriol Angrill Jordà

February 1, 2013, 4:08 am
$
0
0





Barcelona, 11.1986

Studied Illustration in Palma de Mallorca, Spain -where he has lived almost his whole life-, at Escuela Superior de Diseño de las I.Baleares. He has lived in London UK where he increased his skills doing a course of printmaking at Central Saint Martins College of Art & Design and life drawing at The Art Academy. Moreover, he's looking for new experiences and finding out more technics to improve other ways to express himself.
During his studing period of Illustration, he tried a hugh variety of techincs like pastel, watercolours, colored pencil, white pencil on black canson paper, acrylics, graphite, charcoal and so on. Whatever he used, he easily found the way to reach the realism. His most identificative skill is that, whatever he use is able to produce an hiper realistic picture.
|Beginnings
“I did not start like most of the artists I've met. As I've been listening, a majority of them had been enthusiastic about Art, almost since they were born, as a native desire to create or express themself. Unfortunately, it wasn't like that to me. It was like a research of what I did better. I really had no interest in drawing or art culture. I completely unknew there were people living and working on Art. Despite my childish ignorance, I had already an easily skill to draw or rather that, a facillity to represent what I saw on paper.

At the age of 12, I started doing my first art lessons as an after-school activity, with the same educational purpose as parents take their children to music lessons or sport activities. By the way, I also did those other activities.
I've always been a bad student and I had a fervent tendency to distractions. I used to waste massive time starring at each shade, light that brighted onto my classmates, following the flight of a fly or how the pencil fell down while I was pushing the table up with my feet.
With tough efforts to study and gradually passing courses, years were going on with no artistic relevance up to High School when I found out what I did not like to do. I managed to pass 1st High School in Science and then I changed to Art branch to start my early knowledge about the world of Arts and people that surrounds it. Began huge family problems due to my absence from school. I failed and the following year was quite similar but less frequently non-appearence issue. Unconsciously, I became more and more interested in the artistic world, images, pictures, illustrations, featured artists... M.C. Escher was who encourages me to make draws as better as I could. Then I realized that I could do something well done enough. After that, I started Illustration at the Escuela Superior de Diseño de las I.Baleares. There, my interests were almost clear and I decided to dedicate myself to Art and do the best I can.”
"I just like to draw things that happens in real life, I'm tired to visit contemporary art galleries or museums, all I find there it's just like visiting primary schools on a parent's day. They try to express themselfs in a random or painting fade throwed on a canvas or sticked trash into a litter. All it is shown is valid and allowed." 










Education

·2000-2001 First drawing classes with Juan Gallardo.
·2003-2004 Drawing classes at the study of Marcos Mateu - www.marcosmateu.com.
·2005-2006 Course of printmaking and oil painting at the study of Antonia Oliver - Grup 4cromia.
·2009-2010 Illustration at the High School of Design – ESD, Spain. 
·2010-2011 Printmaking at Central Saint Martins College of Arts & Design, UK.
·2010-2011 Life drawing class with Fabia Claris at The Art Academy, UK. 





↧

Soleil Ignacio (Choleng Ignacio)

February 1, 2013, 5:01 am
$
0
0



Artist from Philippines


Education -  University Of The Philippines - Bachelor in Fine Arts















↧

Max Gasparini

February 1, 2013, 6:38 am
$
0
0








Max Gasparini è nato a Rovato (Bs) nel 1970.
Vive e lavora in provincia di Bergamo.
Frequenta il liceo artistico poi si dedica al restauro di opere d'arte.
Autodidatta, dipinge da sempre, senza peraltro sentire l'esigenza di esporre. Gli studi sulla pittura classica si riflettono nei suoi soggetti intimisti : ritratti, nature morte, paesaggi; realizzati con tecnica ad olio e tempera all'uovo su tavola .
Nel 2007 “incontra” il cartone da imballaggio che lo libera dal cavalletto e dalle tecniche canoniche. Max scopre le grandi pennellate, la liberazione gestuale, le colature e le tecniche più disparate, a volte casuali, arrivando al paradosso di realizzare quadri con lo sverniciatore.
Con la liberazione totale dai precedenti schemi arriva la voglia di esporre.
Il viso femminile come “TUTTO”, rappresentazione dell'universo (da Platone ) e inteso come figurazione della TERRA GENITRICE è la tematica del lavoro degli ultimi due anni.
I colori, così come i bianchi e neri, investono con impeto i numerosi supporti scelti, creando percorsi originali con la materia entro un costante rapporto-guida dell'artista che feconda gli incontri.
Scompaiono le tele bianche, lasciando posto a vecchie lamiere arrugginite. Non più mondi sconosciuti ma uno sguardo all'indietro, utilizzando materiali animati da chi ne ha già usufruito. Il vecchio rifiuto e la ruggine di ieri in compenetrazione d'anime con la pittura la sua ideazione.






“Sogni e speranze, delusioni e dolore. Sono quelli che trovano forma nel 
lavoro di Max Gasparini, perfetta fusione di accenti lirici e suggestioni 
espressioniste.
La giornata è finita. La folla si disperde e diventa persona, umanità. MaxGasparini fa di questa umanità la materia di un lavoro intimista, costruito a grandi pennellate che, se al primo sguardo possono dare l’impressione di un’ispirazione immediata e di un procedere istintivo, si rivelano, ad uno studio più attento, meditate e pensate una ad una. declinate in pochi colori, spesso nelle sfumature di un solo colore, le sue donne sono apparizioni. Seducenti come sirene quando guardano lo spettatore, assumono 
una connotazione inquietante quando invece abbassano lo sguardo o chiudono gli occhi. Quando il loro pallore diafano, cereo, che va disfacendosi in colate di materia, raggela il loro sonno in atmosfere da morgue. Se il supporto che sceglie è il cartone, Gasparini regala gradevolissimi effetti di trasparenza lasciando parte della base al naturale. Altrettanto piacevole, sebbene diversissimo, è l’effetto quando invece l’artista decide di cambiare registro e di passare a una resa del soggetto quasi fotografica. 
Lì il fondo è una lastra, un nulla da cui il viso emerge come se affiorasse da un liquido denso e lattiginoso. Ma poi ecco che ci accorgiamo dell’illusione. Quello non è un viso: è solo un involucro. Una maschera che si indossa o si toglie a piacimento come in un grottesco giorno di Carnevale. “ Alessandra Redaelli 

















Awards
Finalista Premio Basi 2012
Finalista Wannabee prize international 2011
Vincitore Spoleto Festival art 2011
Finalista Wannabee prize international 2010


↧
Viewing all 1856 articles
Browse latest View live
Search