Kay Yoshiya

August 30, 2013, 6:06 am

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Kay Yoshiya

Brief explanation about my works:
Clown & masked face:
White powdered faces, warped chins, twisted red nose, cheek swelled like a
balloon, unnaturally upward-slanted lips……; on their faces you will see a faint
chuckle. They should not have any inherent expression or show any emotion;
their faces should not be realistic, nor look like somebody who is alive and
should not look like a grievous or joyful someone. They are no living existence
that has a proper noun, would always remain anonymous and would possess
stereotype personality.
I prefer to image my main figure as a clown or masked person to express the
personality in which emotions are extremely restrained. A mask, showing always
the same countenance, implies a stereotype personality, although my feeling as
creating fine-artist is always entangled with many contradictions such as
“personality of impersonality”, “nationalism of statelessness”, “rationality of
irrationality” etc., and mask or clown I draw is a kind of symbolization of these
feelings.
The stereotype main figure in my painting will throw various questions to the
viewers of my works. Depending on a mental situation of a viewer, it could be a
cheerful question or, at another occasion, it could be sad and serious one. That
is obviously no physical communication like between people to each other, but I
feel that, whenever you would stand in front of a painting, there occurs an
invisible communication between the viewer and main figure in a painting,
although nobody can expect to get an answer in a physical sense from
impersonal, non-expressive clown or masked person in my painting.
I never use living models. Those whom I paint on the canvas are living inside me
already for a long time, talking to me, smiling to me, provoking or consoling me.
They are often me myself, or somebody whom I once met in my real life, or who
are created in my fantasy. They are not particular “somebody” with name, but
just “someone”. They should not be painted realistic and are, therefore, to be
deformed. Sometimes my clowns look gently into my inside, sometimes sadly or severely. The whitely powdered faces hide the real face of them, and show just
stony countenance or stereotype image without emotions. To express this
vacant countenance, reality of unreality, existence of non-existence, I scratch or
do a special treatment of the surface of canvas. Through the creased surface of
canvas, the neutral, emotionless face of clown or masked personage would
emerge as reflection of my reality.
As I said above, my models are living inside me for a long time. Many of these
models I met during my life in the paintings of old masters or nameless painters
who lived in Europe several hundred years ago. They used to live inside me as
the most intimate models since I, as small child, decided to become a fine artist.
Through years of my life they often appeared on my canvas in a different image
than what they originally were. These models who were once created in early
days of the Western art history are still living inside me and synchronize
themselves with my idea of the “countenance of non-existence”, “eternal
stereotype” and “realism beyond reality”.
Clowns and masked personages I like to express in my works are not really
favored subject nowadays anymore. But because of their neutral stereotype
facial expressions, they are, to me, very important existence that is often
resurrected in my paintings.

Icons & Altar Paintings:
Already long time has passed since I discovered the charm of icons as well as
altar paintings and started to adopt conceptual idea of both styles to my works. I
was and am still attracted by their static but very symbolic image-expression.
Both icons and altar paintings have also a special property, namely they set up,
by viewing, a non-verbal communication between them and the viewers. Their
unique expressive styles and original function as object of worship and pray
match very well to my artistic feelings that should be expressed on canvas of my
paintings.
In Greece, Balkan-Peninsula, Hungary, Bulgaria and Russia, that were the
territory of the East Roman Empire, icons were and are very popular art form as
object of pray. Icon paintings were originated in the Greek and Russian
Orthodox churches and were cultivated as the Byzantine art in a growing
influence of the Orthodox Catholicism, retaining its original form until today.
Considering its originality, icon paintings might be said as the still existing origin
of European arts.
These icon paintings gave a fertile influence to the early altar paintings and also
to early Italian paintings created during the pre-Renaissance period. This art
form did not come to bloom in Northern Europe, at least not so much in the
Netherlands, but this gave nevertheless a lot of invisible influence to altar
paintingsin Northern areas as well and contributed to the birth of WestEuropean art in later period.
In Catholic churches with pompous dignity there are many altar paintings and
sacred images preserved in stately Gothic ornaments. By watching pious people
in churches, kneeling in front of these art works, praying and making the sign of
cross on their chest, you would really feel the old religion is still vividly there.
They are praying not to valuable altar painting as art piece, but worshipping the
main subject, Christ or his followers and holy biblical scenes, painted in an
aesthetic way.
When these paintings were made in early days, no signature was put on painting
or sculpture. Most of them were made by anonymous craftsmen who made their
works by order of their master-patrons or to express their own piousness and to
devote themselves to Christ and sacred subjects without being conscious of art
as an ultimate objective. In these days there was no clear self-consciousness of
being artist as profession. But these religious paintings, made by anonymous
painters, are, as already said above, the origin of European art paintings, and
without them, icons and altar pieces, further development of European art was
unthinkable. Whenever I stand in front of altar paintings and icons, I hear the
breath of ancient painters hidden behind these works and also of many people
who prayed towards them.
Going back to the origin, rediscovering simple mind and beauty in early days and
creating an original style and new sort of beauty that were never ever created by
anybody in the art history; these are my key words during creation of my works.
≪Kay Yoshiya≫

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Walter Brems

August 30, 2013, 6:31 am

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Walter Brems

Walter Brems born in Reet - Antwerp (Belgium). Studied at the Royal Atheneum in Boom (Antwerp), the local drawing- and paintingschool in Niel and finally studied drawing- and paintingtechniques and graphic design at the Royal Academy for Fine Arts in Antwerp.
Taught at the Royal Academy for Fine Arts (drawing & graphics) in Dendermonde (1976-2002) and St-Niklaas (1971-1982)

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Diego Pomarico

August 30, 2013, 7:04 am

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Diego Pomarico vive e lavora a Torino.
Riservato, attento, pacato e inquieto al tempo stesso, artista ispirato e capace manipolatore di tecniche che vanno dall' acrilico alla matita, dal pastello alle vernici, testimonianza dell' eclettismo e della sperimentazione continua.

La semplicità dei temi di Diego Pomarico non deve trarre in inganno: la sua è un'arte dai molteplici gradi di lettura, una pittura dai risultati straordinari e suggestivi.

Marilena Lapertosa.

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Philip de Rooij

August 30, 2013, 1:44 pm

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Philip de Rooij

Philip de Rooij was born in January of 1976 in Arnhem, The Netherlands. He spent his youth in Zutphen, an old city near the river IJssel. By spending much time at that river, he developed his sense for nature, organic forms and space.

After two degrees in trade training and a technical math degree, he moved to Amsterdam. There he studied Structural Engineering at the Hogeschool van Amsterdam, his goal was to become an architect. After he had been working as a broker in real estate, he started working in the internet business. Here Philip was the creative brain behind all of the photographs and picture material. After the company he worked for went bankrupt, he was at a crucial phase in his life. His overpowering feelings to create, were feelings he could not hold back any longer.

Since he was young, Philip loved to draw. His drawings still form the basis for his paintings. He mainly paints in oil on canvas, but he applies other techniques also.

His paintings arise by emotional thoughts and by visualizing his ideas. Freedom is one of the main topics in his paintings. With his visually orientated mind, in combination with his fantasy, he expresses this feeling of freedom in many ways. Also the heavier emotions of life are a source of inspiration. The mainly surrealistic and abstract paintings are combined with detailed fragments. For Philip, everything falls into place.

Where evolution and science keep evolving, human kind is in danger of losing sight of important values. The thought behind this being: Human kind will destroy itself and the belief in it’s own truth. That is what gets him thinking and through self-reflection, to create his paintings.

Assuming the community is becoming evermore hectic and shallow, he tries to offer the viewer a counterweight with his paintings. He tries to stimulate contemplation of the mystery of life, in the hope of creating a dialogue. He uses his fascination for ancient cultures, symbols and signs from the past together with the female figure, eyes and achievements of the present to create his drawings and paintings. He is constantly in search of the optimal exposure for his emotions, the underlying aspect in his work.

“When you know how the lock works, you don’t need a key, but it isn’t the same as having the key”

- Philip R. de Rooij

Philip de Rooij werd geboren te Arnhem, januari 1976. Zijn jeugd heeft hij doorgebracht in Zutphen, een oude stad aan de IJssel. Het veelvuldig vertoeven aan deze rivier heeft niet alleen zijn interesse in de natuur ontwikkeld, maar ook het besef van ruimte zoals dat later zo magnifiek in zijn werk tot uitdrukking komt.

Na twee afgeronde handelsopleidingen en een studie HTO-wiskunde is hij bouwkunde gaan studeren aan de Hogeschool van Amsterdam met de intentie architekt te worden. Maar al vrij snel kwam hij na eerst gewerkt te hebben bij een vastgoed advies bureau, in de IT-branche terecht, waar hij verantwoordelijk was voor het creëeren en beheren van het beeldmateriaal. De vele gezichten van Amsterdam hebben hem verrijkt in zijn ontwikkeling. Nadat het bedrijf, waar hij werkte failliet ging, kwam hij op een cruciaal punt in zijn leven. Zijn allesoverheersende drang tot creëeren bleek niet langer te stuiten. Reeds vanaf zijn vroegste jeugd tekende hij al en ook nu vormen zijn tekeningen de basis voor zijn schilderijen. Hij schildert voornamelijk in olieverf op linnen en canvas, maar ook vele andere technieken past hij toe.

Zijn schilderijen ontstaan door emotionele gedrevenheid en door het visualiseren van zijn gedachten. Vrijheid is een van de hoofdthema's die door zijn visuele instelling in combinatie met zijn fantasie op velerlei manieren worden uitgewerkt. In zijn werk tracht hij diepe emoties over te brengen, waarbij mysterieuze elementen een belangrijke rol spelen, zoals oude (Latijnse) teksten, onbekende dieren, getallen, codes en wiskundige formules. Kortom alles wat niet voor de hand ligt heeft zijn interesse.

Waar ontwikkeling en wetenschappen in raptempo voort razen, dreigt de mens belangrijke waarden uit het oog te verliezen. De achterliggende gedachte, dat de mensheid zich zelf zo zal vernietigen en het geloven in zijn eigenwaarheid zijn het, die hem tot nadenken stemmen en vanuit zelfreflectie zijn schilderijen te maken.

Uitgaande van het steeds hectischer en oppervlakkiger worden van onze maatschappij wil hij met zijn werken de aanschouwer een tegenwicht bieden en hem prikkelen tot contemplatie van het mysterie van het leven in de hoop een dialoog tot stand te brengen. Hij maakt gebruik van zijn fascinatie voor oude culturen, symbolen en tekens uit het verleden, die hij samen met vrouwfiguren, ogen en verworvenheden uit de huidige tijd verwerkt in zijn schilderijen en tekeningen. Hij is voortdurend op zoek naar de optimale weergave van zijn emoties, die ten grondslag liggen aan zijn werk.

Quote: â€œWhen you know how the lock works, you donâ€™t need a key, but it isnâ€™t the same as having the keyâ€

- Philip R. de Rooij

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Ekaterina Moré

August 30, 2013, 2:06 pm

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Ekaterina Moré

1976
Born in St.Petersburg, Russia

1985-1990
Childhood in Far East/ Russia
Kamchatka Peninsula and Sea of Japan

1991
Return to St.Petersburg

1996
Relocation to Germany
First large-size paintings

2001
First exhibitions in fine-art galleries

2003
Glas collections for Ritzenhoff AG

2004
Glas und porcelain collections for Rosenthal AG

2005
Paintings for bar from Maritim-Hotels in Berlin

Seit 2001
Various solo exhibitions in Berlin, Hamburg, Paris, Oslo, Düsseldorf...

Icons of our times -
feminine figures as a metaphor for human dignity
Ekaterina Moré's paintings are not illustrations or portraits in the conventional sense but much rather symbolic images which evolved from deep emotions. With her impressive depictions, the artist shows her great respect for the feminine force. It was not by chance that deities in the dim and distant past were feminine. And in our times as well, the woman embodies many characteristics which the artist harmonizes in her works in an ideal manner. The dawning century will be feminine - or it will not come to be. The isolated male side, the cold striving for power and the brutal force often connected with the patriarchy have reached their limits. A new age begins. Positive accents in this direction are set by the artist's figure of the woman - erotic, sensitive, yet powerful and self-assured.

In 1976, Ekaterina Moré was born in then Leningrad which, in the early 1990s, was given back its original name of Saint Petersburg. Today, the artist is living in Germany's Rhineland. Early on, her parents specially fostered her artistic talent since her family had always held the fine arts in high esteem. Her great-grandfather had already studied at the Baron Stieglitz Academy for Design which was closed during the Russian Revolution. Her grandfather attended the Art Academy in St. Petersburg. Her father worked as a sculptor to counterbalance his military career as an officer; and together with her mother who was an independent artist, he designed stage settings for the local theater.

Such early contacts with the fine arts aroused Ekaterina Moré's interest in painting and drawing in a very particular way. Already at a youthful age, she showed professional promises. And so, in her early works she developed an impressive synthesis between traditional Russian painting and avant-garde art. Although she never received any academic fine arts education, she soon found her very individual expression as a painter and successfully became accepted as an artist in the West.

Among Russian artists, she was no exception with her great interest in western art. In former times, looking to the West used to be characteristic for Russian avant-garde artists and has also been amply documented in the abundant art collections - especially in Ekaterina Moré's hometown of Saint Petersburg. She had become familiar with western European painting during her numerous visits to the Hermitage. Her first artistic examples were Postimpressionist painters such as Gauguin, Cézanne and van Gogh. Later also Tamara de Lempicka, the famous Polish painter who had lived in Paris for many years; from there she had gone to the U.S.A. and still later moved to Mexico. Tamara de Lempicka and Ekaterina Moré have a few things in common. To be mentioned in this respect is the artistic development of the two women as it evolved in showing more and more one central figure - self-assured, yet erotically feminine. Also to be mentioned as a common ground: Until the October Revolution, Tamara de Lempicka had spent some happy years in Saint Petersburg, Ekaterina Moré's native town.

Due to her parents' professions, Ekaterina also came to know the vastness of the Russian landscape and the differences of its regions. She grew up at the Russian-American outer border - on the Kamchatka peninsula and the Sea of Japan. Her visual experiences there broadened her artistic horizon in a very special way. In her memoirs about that time, Ekaterina Moré provides a very impressive description of the Kamchatka peninsula. The world of the resident Chuktchi people and the Koryaks with their colorful costumes, shamanistic traditions and their special ritual dances has left lasting impressions. This deserted region in the extreme north-eastern part of Russia certainly is the complete opposite of the world of salons and t�te � t�tes which Ekaterina Moré paints today. But perhaps her sensitivity to special light and color effects stems from the experience with colors in that region: It remains dark all winter, and in the extremely short summer time, the bursting force of colors has a very intensive effect on the senses. Just as this intensive Nordic light sharpened Ekaterina's perceptions, the desolation and the vastness of this sub-arctic region possibly made her deal intensively with her inner images. She discovered art as the universal language of humanity which connects the different cultures and gives people the opportunity to meet their inner child.

In the far east of Russia, she had thus developed good basic prerequisites so that, in Germany, she could further continue her artistic ways. After her move to Germany, she began to paint large-format pictures which soon attracted the interest of collectors and gallery owners. Already in 2001, the artist had her first successful exhibitions. Soon thereafter, her paintings were on display not only in Düsseldorf and in other German cities, but also in Moscow, Oslo and in Paris. Product designers saw the potential and the impressive power of her figures; and they transferred Ekaterina's themes to high-quality luxury products - for example, company Rosenthal used them on its valuable porcelain tableware. Interior designers also took note of the artist's attractive and exciting themes. They used them to good effect at very special places. Where would such salon scenes be more fitting than in actual salons, such as the bar of the Maritim Hotel in Berlin?

Ekaterina Moré's feminine figures have an inner beauty - this is what makes them soulful and alive. They radiate self-assurance and integrity - characteristics pleasantly touching the viewer. The attributes of the persons bring the type of depiction close to pictures of saints. As with Russian icons, a sort of symbolic picture is created which is here embedded not in a religious but rather in a worldly and mundane context. It is particularly important for Ekaterina Moré to make a personality's complexity come together in an organic unity. This unity consists of the interplay of apparently contradictory impressions. It not only concerns cold rationality and warmhearted emotions. In her depiction of the complexity of human life, Ekaterina Moré goes far beyond this and exposes nuances deep down. Ekaterina's female figures give the impression of being proud and self-assured, yet at the same time compassionate and motherly. They appear open and unapproachable at the same time; sisterly intimate, yet oddly strange and unrelated. The artist develops from all these facets the ideal image of the woman which we can meet on the same level as masterly icons which are also ideal images uniting antagonistic personality traits - seemingly good ones as well as allegedly bad ones.

The technique of painting such pictures cannot be classically realistic. The artist much rather forms an artificial world entirely different from the real world -- a theatrum mundi in a pure form for the viewer's enjoyment. She keeps her figures in a kind of limbo between elegant exterior appearance and introverted nature. This tension between the inner and outer world in her paintings provides a very distinctive atmosphere and nimbus. The scenes' vague and indeterminate complexity additionally provides a particularly suspenseful feeling. Especially the artist's double portraits are masterly in this respect. The protagonists are here on the same level: Similar elegance and personal aura - and their particular nuances being expressed with utmost sensitivity. It shows the artist's broad range of the palette to expose even the smallest nuances of a personality. A slight, almost invisible intimate touch underlines the closeness between the two protagonists. The viewer's fantasy thus gets going by an irresistible force. Who would not yearn for such unfathomable intimacy and closeness?

Because Ekaterina Moré pays her respect to the female figures in her works with an inherently harmonizing complexity, they are provided with an exceptional personal strength which at times causes a feeling of unease in the viewer. They seem far removed from everyday life and on the world just for themselves. They are thus literally autonomous and combine knowledge and dignity. The costume, the jewelry and even the surroundings of the pertinent central figure - these attributes of femininity - absorb the aura of the central figures and provide the color supplement to the shapely feminine bodies which are the center of the artistic composition. Not unlike Renaissance paintings, Ekaterina Moré is not only concerned with the effect of the colors' luminescence but also with the materiality which she brings to great effect with a brilliance of colors. With her excellent skills of the craft, the artist presents us the meeting of minds with her artistic examples which at first seems rather remote due to the risqué nature of her compositions. Are her depictions the pictures of saints of our times - very modern, mundane successors of classical iconic figures? Similar to the Renaissance paintings which are also charged with subtle eroticism, Ekaterina Moré's works certainly also allow such assumptions.

Art Historian Dr. Helmut Orpel

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Elzo Dibbets

August 30, 2013, 2:56 pm

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Elzo Dibbets

Born 21-03.1947
Akademie v. Beeld. Kunst, Arnhem

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Agnieszka Kozień

September 1, 2013, 3:33 am

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Agnieszka Kozień

Agnieszka Kozien is engaged in painting, photography and graphic design.

Education:

1990-95 - study at the Faculty of Painting at the Academy of Fine Arts in Cracow.

1995 - Diploma - cycle of paintings "Spirits, feelings and events" at the atelier of prof. Juliusz Joniak, annexe of photography at the prof. Zbigniew £agocki's studio.

Awards and scholarships:

2006 - Distinction in the competition "Tibet in Polish Traveller's photography", Cracow, (Poland)

2003 - Distinction in the competition "IV Triennal of Selfportrait" in Radom, (Poland).

2003 - Scholarship by the Polish Minister of Culture.

2000 - Distinction in the competition "V International Biennial of Young Artists Vox Humana" in Czech Republic.

1999 - Scholarship by the Polish Minister of Culture.

1997 - Scholarship for young artists from the Municipality of Cracow, (Poland).

1996 - Distinction in the competition "Habitat and Human Development" in Warsaw, (Poland).

1990-95 - studia na Wydziale Malarstwa Akademii Sztuk Pięknych w Krakowie, w pracowniach prof. Stanisława Rodzińskiego, prof. Juliusza Joniaka, prof. Zbyluta Grzywacza, oraz w pracowniach graficznych: fotografiki, wklęsłodruku i plakatu.

1995 - Dyplom - cykl obrazów olejnych pt. "Nastroje, uczucia i zdarzenia", promotor prof. Juliusz Joniak. Aneks fotograficzny do dyplomu w pracowni prof. Zbigniewa Łagockiego.

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September 1, 2013, 3:41 am

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Agnieszka Żak - Agnieszka ŻAK-BIEŁOWA

September 1, 2013, 3:46 am

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Agnieszka ŻAK-BIEŁOWA

Was born on 21.01 in 1982 in Warsaw.
She graduated from Fine Arts in Warsaw. She has also studied at the Accademia di Belle Arte di Brerra in Milan.

In 2007 she has finished her diploma at the Faculty of Painting, in the studio of Professor. Jarosław Modzelewski, an annex to the diploma was defended with honors in Art in Public Space run by Prof. Miroslaw Duchowski.

Award: "Diploma of 2007, named after Professor Szajna "- sponsored by the Governor of Mazowiecki Region which came from initiative of professor Szajna and Studio Gallery

Award: Scholarship, sponsored by Mr. Dariusz Wassylkowski

The winner of the competition for a solo exhibition at the 6th International Festival of Arts "Inspiration 2010" in Szczecin.

The winner of the competition for a solo exhibition at the X International Festival of Arts Experiment 2010

Winner of the financial grant of the Ministry of Culture and National Heritage, 2010

Location
Warsaw, woj. mazowieckie, Poland

Education
2009 –Adobe CS4 computer training
2008–2008 editorial workshops, effective projecting of press issues - training organized by Publisher’s Chamber
2001–2007 Graduated from the Faculty of Painting at the Academy of Fine Arts in Warsaw, in the Laboratory of Prof.. J. Modzelewski.
2005–2007 Education Courses in the College of Education at the Academy of Fine Arts in Warsaw.
2006–2006 Advertising Campaign Design course at the Warsaw School of Advertising.
2004–2005 Studies at the Accademia di Belle Arti di Brerra in Milan, in the Laboratory of Prof.. N. Salvatore, the Socrates - Erasmus.
2001-2003 Studies at the Department of Conservation and Restoration of Works of Art, the Academy of Fine Arts in Warsaw

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AGNIESZKA ŻAK-BIEŁOWA

Ur. 21.01.1982 r. w Warszawie. Absolwentka ASP w Warszawie. Studiowała na Accademia di Belle Arte di Brerra w Mediolanie.

W 2007 r. obroniła dyplom na Wydziale Malarstwa, w pracowni Prof. Jarosława Modzelewskiego, aneks do dyplomu obroniła z wyróżnieniem w pracowni Sztuki w Przestrzeni Publicznej u Prof. Mirosława Duchowskiego.

Nagroda: „Dyplom 2007, im. Prof. Józefa Szajny” - ufundowana przez Wojewodę Mazowieckiego z inicjatywy Prof. Józefa Szajny i Galerii Studio.

Nagroda: Stypendium, ufundowane przez Pana Dariusza Wassylkowskiego.

Laureatka konkursu na wystawę indywidualną, na 6 Międzynarodowym Festiwalu Sztuki „Inspiracje 2010” w Szczecinie.

Laureatka konkursu na wystawę indywidualną na X Międzynarodowym Festiwalu Sztuki Experyment 2010 r.

Laureatka stypendium finansowego Ministerstwa Kultury i Dziedzictwa Narodowego 2010 r.

Uczy rysunku i malarstwa w Studiu Sztuki, przy ul. Gen. Zajączka.

Od 2005 r. jest członkiem Stowarzyszenia „Pracownia Wschodnia”, od 2009 r. jest członkiem Stowarzyszenia dziennikarzy i dokumentalistów "Koncentrat".

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Andrzej Borowski

September 1, 2013, 3:55 am

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Andrzej Borowski

Andrzej Borowski focuses on traveling, and it does not concen only visits to different places in Europe, but also traveling to the classic artists and sources of European art.

Andrzej Borowski urodził się w 1969 r. w Żywcu. Ukończył studia w ASP w Krakowie na Wydziale Grafiki, malarstwo w pracowni prof. Zbysława Maciejewskiego. W latach 1992-1996 uczestniczył w wystawach zbiorowych w Polsce, Niemczech, Holandii, Anglii, Francji, Belgii i Japonii.
Jest autorem dziewięciu wystaw indywidualnych w Polsce, Francji i Hiszpanii.
W 1994 r. otrzymał wyróżnienie w krakowskim Ogólnopolskim Konkursie Malarskim pt. "Pejzaż w malarstwie współczesnym".
Jest autorem projektów fresków w kościele Św. Rodziny w Piekarach Śląskich.

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Andrzej Filipowicz

September 1, 2013, 4:09 am

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Andrzej Filipowicz

Andrzej Filipowicz is a painter (born 1974) , better known by the stage name Phil
finished Grodno State University of Y. Cupala name, the chair of art and world artistic culture. In 2000 got an honorable art-prize from Sachssche Kulturstftung Dresden in a view of art-probation to Kunstlerhaus Schloss, Wiepersdorf, Germany, where afterwards he learnt west-european art and finished with individual exhibition. Since 2002 manage and web-designer of art-project [622] Laboratory of Modern Art by financial support of Information Agency of USA.
Since 1995 began actively take part in the international pleners and exhibitions. Took part as a young artist in plener Lack in Poland, where also were presented masters of Polish modern art Jan Wolek, F.Starowieyski, E.Dwornik, Andrzej Kacperek and others by support Semper Polonia Foudation.His important exhibitions were presented in Jan Paderevsky museum in Warsawa;individual exhibitions also were presented in Dom Polonii Warsawa and Krakow and other cultural centers.
In his picturesque works traces pertain to modern impressionist painting.
Actively took part in work of the biggest Polish diaspora on the East. Nowadays he is the member of the Council of the Union of Polish Artists in Belarus attached to Union of Poles in Belarus--organization, leading by Angelica Boris and unrecognizable official Belarusian powers since 2005.

In the past years his works were shown in corporative collections: Zemper Polonia, PKN Orlen, Sachssche Kulturstftung Dresden and in the private collections of many countries of Europe, in America and Australia.

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Anna Masiul - Anna Masiul-Gozdecka

September 1, 2013, 4:37 am

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Anna Masiul-Gozdecka

Polish visual contemporary artist.Paintings, drawings, collages.

Graduated from Warsaw Academy of Arts in a year 2000. She studied painting at prof. Krzysztof Wachowiak`s atelier, photography at prof. Rosław Szaybo`s atelier, and animation at prof. Daniel Szczechura atelier. After graduation for several years works as a graphic designer and photographer. In a year 2005 she returns to painting, starting from the beginning, from simplest watercolour flowers, which results in exhibition "Flowers" Galeria Sart.

She paints realistic and abstract paintings with the technique of acrylic paints and collages. Her works are in collections around the world: Poland, United Kingdom, Kanada, Australia, Taiwan, Luxemburg, Switzerland, Singapore.

Education
ASP w Warszawie
Malarstwo sztalugowe
fotografia
film animowany

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Dyplom z malarstwa na warszawskiej ASP w pracowni profesora Krzysztofa Wachowiaka w roku 2000. Dodatkowe specjalizacje: fotografia (pod kierunkiem prof. Rosława Szaybo) oraz film animowany (pod kierunkiem prof. Daniela Szczechury).
Wkrótce po dyplomie przestaje malować. Przez kolejnych pięć lat zajmuje się grafiką komputerową i fotografią. Do malarstwa powraca wystawą w internetowej Galerii SART, pt. „Kwiaty” na przełomie roku 2005/2006. Jednak takie malarstwo szybko przestało jej wystarczać i już na początku roku 2007 ponownie w Galerii SART pokazała prace na pograniczu abstrakcji. Zwróciły one uwagę komisarza galerii Folwark Sztuki w Mszanie Dolnej, Jerzego Treita i zaowocowały wystawą tego samego roku na przełomie maja i czerwca. Od tej wystawy zaczęła się prawdziwa praca zawodowa, zamówienia i współpraca z galeriami.
Pozostałe wystawy od tego czasu:
2005 - udział w projekcie "Art for Chełmek"
2006 - udział w biennale "Ogrody", Zamek Książ
2007 - Galeria Sart "Ctrl + z"
2007 - wystawa indywidualna malarstwa w Folwarku Sztuki
2007 - Cykl 19 płócien abstrakcyjnych namalowanych na zlecenie londyńskich projektantów Metro Desing Consultants dla Ujima Housing Group. Kolekcja znajduje się w budynku Ujimy w Londynie.
2008 - wystawa indywidualna w Galerii Katarzyny Napiórkowskiej, Warszawa
2008 - wystawa zbiorowa z Grupą Piaseczno, Biblioteka Publiczna w Aninie
2008 - wystawa zbiorowa organizowana przez Galerię Artde.lu w Real Circulo Artistico w Barcelonie
2011 - wystawa indywidualna "MELODIE CZASU NIESPIESZNEGO" Domoteka, Warszawa
2011 - udział w wystawie zbiorowej "URODZIŁAM SIĘ WIĘC JESTEM...ARTYSTKĄ" Centrum Informacyjno-Szkoleniowe PAIiIZ S.A., Warszawa

"[...]Artystka komponuje ze znanej nam wszystkim rzeczywistości nową historię. Na każdym kolejnym płótnie urzeka stonowana gama kolorów, która ujęta jest w wibrującą kompozycję, co daje kontrastową równowagę. "Narysowane" linie pomagają odgadnąć jaki jest temat obrazu. Brak narracji zdarzenia pozwala na pierwszy rzut oka odgadnąć znak plastyczny w który zaszyfrowana jest scena, czy motyw pejzażu. Duże plamy barwne wprowadzają przestrzeń i poetyckość. Kolejne płótno to nowy pomysł na obraz, opowiadaną historię! Dlatego mogę śmiało zaryzykować za Matissem: Sztuka jest miękkim fotelem, na którym czasami dane nam jest odpocząć."
Jerzy Treit

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Ada Muntean

September 1, 2013, 5:33 am

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Ada Muntean

"I'm an independent visual artist from Romania. My mediums of expression are mainly drawing and photography. I conceive my works as movie frames, parts of a neverending movie- which is basically my life-with all its essence: doubts, fears, feelings and visions. I want to explore the dark sensitive side of things that mark our lives both on a counscious and subcounscious level. Poetry is an important metaphysical inspiration for me, so I choose to use lyrics from poems as titles for my works"

Ada Muntean

2009-2011 : Master's Degree in Fine Art, Graphic Arts, University of Art and Design,
Cluj-Napoca, Romania
2010: CEEPUS exchange student- for 3 months in Cracow, Poland, Jan Matejko
Academy of Art and Design, Graphic Arts:Litography, Drawing, Poster Design
2009 : ERASMUS exchange student-for 3 months in United Kingdom, Birmingham Institute of Art & Design, Fine Art
2006-2009 : Bachelor's Degree in Fine Art, Graphic Arts, University of Art and Design, Cluj-Napoca, Romania

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Bruce Cohen

September 1, 2013, 7:14 am

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Bruce Cohen

Bruce Cohen is known for engaging his viewers with intriguing interiors in his distinctive, crisp, realist style. Influenced by Dutch still-life painting and Surrealism he orchestrates compositions which include fruit, books, vases and always flowers from his garden. These items are placed in geometric interiors devoid of human beings but haunted by a human presence. Bruce Cohen, a native Southern Californian, graduated from the University of California, Santa Barbara. Cohen is represented in public and private collections such as Phillip Morris, New York, Pacific Bell, Los Angeles, the San Diego Museum of Art, and the Solomon R. Guggenheim Museum, New York.

EDUCATION
1975 University of California, Berkeley
University of California, Los Angeles
University of California, Santa Barbara, B.A.

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Brett Amory

September 1, 2013, 8:27 am

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Brett Amory

Brett Amory was born in 1975 in Chesapeake, Virginia. He has lived in the Bay Area of California for the past 15 years, living in San Francisco for 15 years before relocating to Oakland in 2009, where he is currently based. . In the past year he’s had solo shows in Los Angeles, San Francisco, London, New York and San Jose.

Amory began the Waiting series in 2001 with paintings depicting commuter subjects seemingly detached from their fellow passengers and surrounding environments, inspired by the introverted culture of public transit and inhabitants of the Tenderloin neighborhood of San Francisco (where the artist lived for fifthteen years). Figures and places in Amory’s work are based on photographs the artist has taken of ordinary city architecture and random people who he sees on a daily basis but never speaks to.

He feels especially drawn to individuals who look lost, lonely or awkward—those who don’t appear to fit in socially. As the title suggests, the Waiting series is about how we rarely experience living in the now, always awaiting what will come next or obsessed with what has already transpired. In our age of distraction, being in the present is difficult to achieve outside of meditation practice, it requires heightened cognitive awareness and clear mental space, often prevented by constant internal dialogue, preoccupation with memories of the past and/or concern for the future. Amory’s work attempts to visually represent this concept of disconnection and anticipation, conveying the idea of transient temporality that exists in most moments of our daily lives.

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Consuelo Mura

September 1, 2013, 9:07 am

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Consuelo Mura

L'attesa come momento dedicato a se stessi. Piccola pausa di una vita frenetica, quando immaginare è rifugio dell'anima. Quel breve attimo nel quale si rimane con i propri pensieri e sogni segreti, sospesi in un luogo privato senza tempo, cullati da ciò che è stato e fantasticando su quel che sarà più tardi. L'aspettativa.
Consuelo Mura

La flessuosità grafica di Consuelo Mura è una provocazione dei sensi. Orli di gonne, gambe sinuose, e scarpe. Particolari. Ma è quel particolare che seduce, che rimane impresso e che dà il sapore, il sentore del fascino che ti ha catturato. La nitidezza del realismo fotografico, contaminata dal segno grafico del fumetto e della pubblicità, sottolinea con il suo distacco oggettivo ed impassibile lo charme intrigante delle promesse sussurrate, del desiderio complice, dei sottintesi e degli equivoci. Tacchi a spillo per una femminilità vivace e sicura, giocatrice del gioco, ed al tempo stesso per un immaginario segreto, lasciato libero di segnare con un dettaglio tutto il mistero di una storia.
Francesco Giulio Farachi

Consuelo Mura espone in una sala di Palazzo Valentini una selezione di opere di recente produzione. "Inseguendo la traiettoria dei tuoi passi": otto opere affiancate; una sequenza dal forte realismo fotografico, stemperato da una segno vivace, in bilico tra figurazione neopop ed illustrazione pubblicitaria.
Quello che attrae è la possibilità ricognitiva del mezzo pittorico, la capacità di raccontare per immagini, estratte da fotogrammi e manipolate, situazioni di esistenza quotidiana. Sono avventure di uomini e donne, cronache del desiderio o della lontananza. E solitudini inquiete, fremiti che si trasformano in note di musica battente o in spirali di gambe danzanti.
Lo sguardo insiste e si concentra su corpi, soprattutto femminili; Consuelo li frantuma, li ricompone, lasciando a vista particolari amplificati di gambe, scarpe, gonne; movenze flessuose e ammiccanti offerte al piacere della seduzione.
Gli acrilici stesi con abile tecnica compongono queste immagini in bianco e nero che improvvisamente si accendono con colori forti, evidenziando elementi essenziali nel ritmo narrativo.
In quel momento, in quella sintesi, si gode quel racconto; e a memoria si integrano le parti mancanti, ricostruendo, con volti e circostanze, frammenti di storie che diventano nostre.
Pier Maurizio Greco

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Dirk Bach

September 1, 2013, 11:12 am

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Dirk Bach

Dirk Bach is an artist-scholar. His story-filled art has ranged from calligraphic abstractions, to cultural iconography, to brilliantly colored still lives, to personal visions cast against intricate patterns of grass, woven baskets, and oriental carpets. He has worked in almost every drawing and painting medium. He has been a professor of design and art history, an entertaining pianist, and an insatiable reader of books.

My thesis for a master’s degree in painting from the University of Denver in 1962 subscribed to the rigid principles of the De Stijl movement and proposed taking Mondrian into the third and fourth dimensions: colored light projected onto white constructivist surfaces.

I grew up in this rocky mountain city where for thirty years my father served as its art museum director. Daily life in my parent’s household encouraged personal engagements with music, art, and literature; my mother was a writer, my father painted regularly every evening and weekends and I was an aspiring jazz musician.

Playing piano in high school jazz bands and combos continued during my two years at Colgate University, where I was introduced for the first time to formal studio art courses which uncovered a latent talent for drawing. There was an urgency to make visual images of nearly everything I saw, and I transferred to Denver University’s School of Art. Early success came in the form of regional juried exhibition awards, including first prize for painting in the 1961 Mid-America Annual exhibition, Nelson Gallery, Kansas City. For three years, the absorbing focus on studio experiences neglected areas of study in a broader liberal arts education which I knew would be the key experiences in securing a teaching position that could provide a stability to my career as a visual artist.

I enrolled in graduate programs in oriental art history at the University of Michigan where I learned Mandarin and served as assistant to major scholars and pedagogues in the field of far eastern art: Michael Sullivan, Richard Edwards and Walter Spink. My own studies centered around Buddhist art with a concentration on Chinese scholar-painting. My proposal for a thesis on the development of Ch’an [Zen] painting in Southern Sung China and Ashikaga Japan was coupled with a personal need to continue working on my own as a painter. The influence of the pictorial Asian landscape and its unique spatial perspective quickly affected my personal efforts which by now had abandoned large-scale, minimalist, abstract, constructivist painting nourished in art school and instead favored the creation of small private landscapes in gouache on paper. I was, I thought, emulating to some degree the life of those far eastern artists I found so important, but was encouraged by my mentors to choose between the life of a painter and the life of a scholar. I withdrew from the program and secured a position on the faculty of the University of New Hampshire, teaching drawing, painting and design while directing an ambitious exhibition program for the University’s art galleries. In New Hampshire, I received a number of state and local commissions for large murals based on northern New England coastal imagery representing the dynamic interface between water and land—tides, shorelines—accomplished in a variety of media [wood, plastic, steel], before returning to representational images made on a smaller scale with acrylic pigment on paper.

Caught in the fury of the anti-war movement of the late 1960’s, I produced a series of “commemorative stamps” barely disguised as social protests, which were published in Ramparts magazine, November, 1968, and shown in one-man exhibitions in Boston [Rigelhaupt Gallery], Manchester, NH [Currier Gallery] and Dartmouth College [Hopkins Center]. That year I was appointed to the faculty of the Rhode Island School of Design to teach contemporary American art and survey courses in Asian art for the Department of Art History. I remained active in my own studio, despite a busy teaching schedule, incorporating new paper surfaces and materials coordinated with a renewed connection to traditional far eastern visual concerns. Photo silk-screen, gilding, and colored pencil applications to large sheets of pigmented paper were the surface results of a series of landscapes which explored Buddhist cosmological diagrams. The “cloud mandala” series received an added influx of ideas gained from an NEH grant to study Japanese Buddhist architecture and sculpture in Nara and Kyoto. These “Buddhist landscapes” were exhibited widely in the early 1970’s: St. Louis [Webster University], Denver [Sachs Gallery], Phillips Exeter Academy, Tucson [Art Center], Kalamazoo College, RISD [Woods-Gerry Gallery], and Dartmouth College. They were also exhibited in Rome [Palazzo Cenci] where I served as director of RISD’s European Honors Program, 1974, 1975.

Returning to teach at the School of Design, I moved to Newport, RI, where direct contact with the sea and its fishermen encouraged a new series of large-scale oil-on-canvas paintings depicting singularly heroic examples of edible marine life harvested from the ocean: cod, lobster, mackerel, squid, flounder. The series was exhibited at the Newport Art Museum, Phillips-Exeter Academy, and the RISD Museum of Art.

In 1980, I began a series of large graphite-on-paper drawings—“still-life” would properly identify the context—with which I am still occupied thirty years later [2010]. The work incorporates photographic imagery [slides of chairs, water surfaces, rugs, grass textures, Asian calligraphy, Japanese prints, crustaceans, lobster traps, etc.] projected singly onto a sheet of vellum, drawn by hand with a soft graphite pencil, erased and reintroduced, the overlapped objects changing in size and position until a satisfactory composition is secured. For years my classroom experience had been tied to art historical pedagogy by means of a discussion of slides projected onto a large screen; the extension of this mode of visualization into the private world of my studio seemed only second nature. A collaged composition of light projected objects also made reference to proposals in my master’s thesis twenty years earlier. When the working drawing on vellum reached a completed status, the vellum was turned over and secured to a white sheet of quality rag paper and the graphite marks transferred by linear pressure onto its surface. Removing the vellum, I would then work up the illusion of the solid objects in space, applying chiaroscuro effects to achieve the finished version. Each slide held a view of a specific object photographed as seen from above—the array of objects depicted from this vantage point created an overall spatial effect one could term “oriental perspective”—an axonometric space, allowing the viewer to “hover” above the scene. The imagery is largely self-reflexive or autobiographical, suggesting conditions and events through symbolic and metaphorical associations. When I was treated for colon cancer in 2003, crabs and fish cages appeared in the drawings to represent my physical/medical condition; antique cameras referred to frequent cat scans taken to check my recovery; game boards made reference to chance—the gambled survival through individually devised chemotherapies. In 2008, I moved from Rhode Island to New York. I share a studio with my partner—Kay WalkingStick, a well-known Native American painter—whose influence on my work is registered by forms representing our close relationship and mutually entangled identities as artists. There is a marked infusion of color as well which takes the drawings out of their comparatively dour graphite condition and into the realm of joy and celebration.

Dirk Bach was born in Grand Rapids, Michigan, on 27 November, 1939. Four years later, the family moved to Denver, Colorado, where his father, Otto Karl Bach, was appointed Director of the Denver Art Museum, a position he held for the next 35 years. His mother, Cile Miller Bach, a journalist, became the museum’s publication editor and registrar. As a perquisite, the director was provided with an unusual residence in a carriage house appended to a late 19th century mansion located in the center of the city which housed an extensive collection of native American arts.

His early interests in art and music were encouraged by his parents and their friends and associates, who were local and visiting painters, poets, sculptors, lecturers, educators, and collectors. He attended East High school, where he played piano in jazz combos and orchestras, frequently accompanying singer Judy Collins. Music continued to be his extra-curricular mainstay while attending Colgate University; his jazz group performed on many college campuses and occasionally in clubs in New York City.

In 1958, after enrolling in a drawing class, he discovered a strong interest in creating images, an urge dormant until then, and decided to pursue studies in the visual arts. He transferred to the University of Denver where he obtained a BFA in 1961 and an MA in 1962, in painting. He exhibited in regional shows and received first prize at the 1961 Mid-America Annual Exhibition organized by the Nelson Galleries in Kansas City. He enrolled in a Far Eastern Art history program at the University of Michigan, and in 1963 won a series of National Defense Language Fellowships to study Mandarin. During this time he traveled in the orient: Japan, Taiwan, India, and Southeast Asia.

In 1965, he joined the faculty at the University of New Hampshire art department, where he taught drawing, painting, design, and printmaking. He also developed a course in exhibition design to coordinate with his role as director of the Scudder Gallery. His own visual images took on new dimensions: first as series of imprisoned figures based on the contemporary play Marat/Sade, then as landscapes reflecting the environment of coastal New Hampshire and the communities along the edge of Great Bay. The pop art influence encouraged a series of iconic postage stamps commemorating American atrocities; this series coalesced into a Ramparts magazine article, “The Stamp Collection of Dirk Bach” in November ,1968.

The following year, he left the University of New Hampshire for the Rhode Island School of Design, where he taught for the next 25 years. He taught art and architectural histories of Japan, China, India, and contemporary America. He also taught design. His own studio work focused on landscape mandalas inspired by a National Endowment to the Humanities grant for travel to temples in Nara and Kyoto, Japan, and on Buddhist “Pure Land” diagrams based on imagery in the Lotus Sutra and Heart Sutra. These new works led to several exhibitions and speaking engagements.

From 1974 to 1975, he served as director of the Rhode Island School of Design’s European Honors Program in Rome. The travel and administrative responsibilities allowed little time for studio work, but he did produce some colored pencil drawings on paper of the Baroque Italian cityscape, which were exhibited at the Palazzo Cenci in the spring of 1975.

When he returned to resume his Rhode Island School of Design teaching, he relocated to Newport, Rhode Island, where he briefly participated in a commercial fishing community and began a series of large oil paintings of fish still-lives. These still-lives were shown in a 1977 one-man exhibition at the Newport Art Museum. He assumed the chair of the art history department at Rhode Island School of Design, and in 1990 became president of the faculty association. During these years, he created a series of interior still-life drawings in graphite on paper, a medium in which he continues to work.

In 1992, following the death of his parents, he resigned his position at the Rhode Island School of Design and moved to a secluded 18th century colonial farm in rural Rhode Island, where he built walking trails, structures, and gardens, and worked in his drawing and painting studio. His recent drawings of wooden boats in grassy fields reflect both his continued interest in far eastern art and his celebration of renewed personal vitality as a cancer survivor. In 2007, he moved to Jackson Heights, New York, where he lives with the artist Kay WalkingStick; he and Kay also share a studio.

Awards, Grants, and Recognition
Mellon Fellowship Grant [travel/Egypt], 1984.
National Endowment for the Arts [travel/Japan], 1972.
Central University Research Fund [large stamp paintings], University of New Hampshire, 1967–1968.
National Defense Language Fellowship [Mandarin], University of Michigan, 1962–1965.
School of Art Scholarship, University of Denver, 1961.
Who’s Who in American Art, 1970–present.
Who’s Who in the East, 1982–present.
Education
1962–1965, MA [Far Eastern Art History], PhD candidate [Chinese painting], University of Michigan.
1959–1962, BFA/MA [painting], University of Denver.
1957–1959, Colgate University.
Employment
1969–1992: Professor, Chair, Department of Art History, Rhode Island School of Design [RISD]; Chair, Full-time Faculty; President, Faculty Association [NEA].
1974–1975, Director, European Honors Program, RISD, Palazzo Cenci, Rome.
1965–1969, Assistant Professor, Department of the Arts, University of New Hampshire; Director, Scudder Gallery, University of New Hampshire.
Teaching
1969–1992, Rhode Island School of Design: Far Eastern art and architectural history [India, China, Japan], contemporary American painting and sculpture, contemporary American craft, contemporary public sculpture, general art and architecture survey, Asian art seminars, contemporary thematic seminars, [studio courses] senior painting workshop, graduate printmaking. 1965–1969, University of New Hampshire: drawing, painting, printmaking, two-dimensional design, exhibition design.

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Eckart Hahn

September 1, 2013, 12:12 pm

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Eckart Hahn

Biography
1971 Born in Freiburg/Breisgau, Germany
1990-1991 Studies of photographie at Johannes-Gutenberg-Schule Stuttgart
1991-1993 Studies of history of art at Eberhardt-Karl-Universität Tübingen
1995-1998 Studies of graphic design at Johannes-Gutenberg-Schule Stuttgart
2005 Award of Artists Society VBK Württemberg
Lives in Reutlingen

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Ewa Żochowska

September 1, 2013, 2:05 pm

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Ewa Żochowska

Born in 1976 in Łodzi.
In 2002, she graduated from the Academy of Fine Arts in Łodzi.
Art degree made in the laboratory of prof. Tomasza Chojnackiego and the painting studio of prof. Romany Hałat.
artist's work covers several areas of fine arts - painting, graphics, drawing, graphic design and applied arts. His paintings exhibited in national and international solo and group exhibitions in Lodz, Krakow, Katowice, Brussels, Cairo, Sarajevo, Miskolc, Sarcelles and Antwerp.

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Fernando Gerardo

September 2, 2013, 1:26 am

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Fernando Gerardo

Born 29 Sep. 1957 - Mozambique

My paintings are about feeling the world around me. Sometimes, thoughts on social issues or plain “poetic” approaches, depending on my state of mind or personal experience, lead me to the subject I chose to paint.
My intentions are sometimes different from what I previously thought as being interesting and I end up painting the subject in a different approach, letting thoughts and feelings discover other paths around the subject.

Although I live from the art I produce, I am in a learning process absorbing and understanding concepts of art and painting techniques, hoping that learning will never end.
Only recently, I began using oil because the medium is easier to manipulate and allows possibilities that I have just began to explore.
My chromatic choices are an attempt to create an atmosphere leading the viewer’s attention to what I think is relevant.

work
From 1978 until 2004 I worked in advertising as a graphic designer and a freelance illustrator.
In 2004 I began my painting career.

Education
I was born in Mozambique and in South Africa, attended the Johannesburg Art, Music and Ballet High School. In Lisbon, I studied in Escola de Artes António Arroio for one and a half years as an unofficial student.

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