Gabriele Garbolino Rù

September 9, 2013, 5:14 am

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Gabriele Garbolino Rù

"Gabriele Garbolino Rù è un giovane e valente scultore che a Torino, dove è nato nel 1974, ha conseguito il diploma in scultura all’Accademia Albertina nel 1996.

Ha esordito con l’esecuzione delle integrazioni scultoree nel corso del restauro di due monumenti torinesi, quello a Galileo Ferraris (1997) e, soprattutto, quello al Fréjus di piazza Statuto (2001): grazie al suo intervento, i Titani hanno riacquistato braccia, gambe ed uno addirittura la testa!

Sempre a Torino, è opera di Garbolino Rù il monumento ai Paracadutisti d’Italia, in Viale Medaglie d’Oro, al Parco del Valentino, inaugurato nel 2011 in occasione del 150° Anniversario dell’Unita d’Italia.

Ha eseguito molte sculture, pubbliche e private, in marmo, in bronzo, in alluminio, in legno, in acciaio, perché utilizza con disinvoltura molti materiali, anche di difficile lavorazione.

Sono sue realizzazioni il monumento al cavalier Magnoni a Cafasse (2002), al Vigile del fuoco a Volpiano (2002), a Gino Bartali a Capo Berta ad Imperia (2007), il primo gruppo scultoreo dedicato alla Madonna della Salette per il Santuario di Villa Schiari a Viù (2007), l’Atleta del Centro Polisportivo di Marene (2010), il monumento ai Vignaioli a Caluso (2011), ai Caduti sul lavoro di Collegno (2009) e di Pianezza (2011).
Garbolino Rù ha attuato la supervisione e la direzione artistica per il rifacimento di una copia in scala reale con scansione laser della scultura realizzata nel 1882 da Vincenzo Vela per il monumento agli operai morti durante la costruzione della galleria del San Gottardo

Questa copia, collocata presso la sede dell’INAIL a Roma, costituisce un originale monumento ai caduti sul lavoro, inaugurato dal Presidente della Repubblica Giorgio Napolitano il 1° maggio 2008.

Nel 2009, ha collaborato alla realizzazione dell’urna che ha portato in pellegrinaggio per il mondo l’Insigne Reliquia di San Giovanni Bosco: sono di sua creazione le formelle quadrangolari con volti di giovani dei cinque continenti che decorano i piloni sul lato dell’urna, il bassorilievo raffigurante lo stemma dei Salesiani e il simulacro del Santo che contiene la reliquia."

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Evan Penny

September 9, 2013, 5:59 am

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Evan Penny

b.1953
South Africa - Canadian Citizen

Studies

1977 to 1978
Alberta College of Art - Post Graduate Sculpture
1971 to 1975
Alberta College of Art - Honours

Teaching Positions

1994 to 1997
Toronto School of Art, Toronto
1988 to 1989
Ontario College of Art, Toronto
1986 to 1988
School of the Art Institute of Chicago, Chicago
1982 to 1983
Alberta College of Art, Alberta

Artist in Residence

Emma Lake Artist Workshop, Saskatoon, Saskatchewan
Snug Harbour Cultural Centre, Staten Island, New York

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Eva Jospin

September 9, 2013, 9:53 am

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EVA JOSPIN

Détails d’une forêt (Details of a forest)

Eva Jospin was born in Paris in 1975. She lives and works in Paris.

Eva Jospin’s artistic research has been oriented until today to an art that includes different medium: drawing, painting, collage, sculpture.

In these last two years, the artist has been devoted to the matter of the landscape and its representation.

Dominique Païni affirms about her new works : “To look at a forest is an optical experience that challenges the typical laws of perspective in western representation. Facing visually the depth of a forest means to forget the horizon, it means to get lost. And is not the danger of getting lost the only risk tied up to that natural labyrinth that is a forest?...

Eva Jospin does not forget what lies under these brushwoods, under the foliage and the clearings: Give an endless tangle back, exceed, through the virtuosity of the eradication and the cut, the illusions of depth, experiment the limits of a frame and of a surface that tricks the eye.”

Éva wraps the world in cardboard. She cuts, carves and sculpts this most unlikely material, like others handle stone or marble. 35-year old Éva Jospin, daughter of the former French Prime Minister, began as an architecture student, but switched to Fine Arts, preferring the hands-on experience. She loves that cardboard is hard to cut with scissors and isn’t overly malleable: “Even the best jeweler would find it hard to make anything precise out of it”, she smiles. But this artist transforms it into tree trunks, roots and leaves. “Everyone relates to the forest, because its references lie not only in mythology, but also in Gothic architecture and animation”. Forests are places where you can lose yourself as if by magic.

Eva Jospin est sortie de l'Ecole Nationale Supérieure des Beaux Art de Paris en 2002. Depuis lors, elle a exposé à de nombreuses reprises à Paris (notamment à la Fondation EDF, à la Galerie Pièce Unique et au Musée de la Chasse et de la Nature), en France (l'Isle-Adam, Château de Ratilly, Yerres) et à l'étranger (Rome, Naples, Venise, Milan, Bologne, Dubaï). Elle a également participé aux Nuits blanches de Paris en octobre 2012.
Son travaille a été salué par la critique (Art press, Le Journal des Arts, Le Monde).

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Remy Boquiren

September 9, 2013, 1:01 pm

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Remy Boquiren

Born in Surigao City in 1940, she lives in Marikina

Fine Arts Major at University of Santo Tomas.

She taught at the University of the East School of Music and Arts, and has worked with an advertising firm. Her first solo exhibit was in Surigao City. A former zarzuela costume designer, her first Manila solo at ABC Galleries, titled “The Way We Wear,” dwelt on the Filipina’s wardrobe over the past four centuries.

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Uładzimir Bludnik

September 9, 2013, 1:26 pm

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Uładzimir Bludnik

B. 1 Sep. 1975

Belarusian artist. His primary concentrations are painting, litography, sculpture and poetry.

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Biografia

Białoruski malarz, poeta, prozaik. W latach 1993 – 1998 — uczył się w Akademii Sztuk Pięknych w Poznaniu. W 1998 roku otrzymał dyplom w pracowni litografii prof. L. Mianowskiego. Zajmuje się rysunkiem, malarstwem i grafiką. Prace Włodzimierza Bludnika znajdują się w prywatnych zbiorach w Białorusi, Polsce, Kanadzie, USA, Niemczech, Hiszpanii, Holandii і Wenezueli. Autor wierszy i opowiadań. Żyje i pracuje w Poznaniu.

Беларускі мастак, паэт, празаік. У гадах 1993—1998 — навучаўся ў Акадэміі мастацтваў у Познані. У 1998 годзе атрымаў дыплом у майстэрні літаграфіі прафесара Л. Мяноўскага. Займаецца рысункам, жывапісам і графікай. Працы Уладзіміра Блюдніка захоўваюцца ў Беларусі, Польшчы, Канадзе, ЗША, Германіі, Іспаніі, Нідэрландах і Венесуэле. Аўтар вершаў і апавяданняў. Жыве і працуе ў горадзе Познані. Літаратурны дэбют адбыўся ў 2008 годзе. У выдавецтве «Белы Крумкач» выйшла кніга «Вяртаньне». Выданне змяшчае вершы, прозу і рэпрадукцыі карцінаў і літаграфій аўтара.

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Kazimierz Mikulski (1918 - 1998)

September 9, 2013, 3:04 pm

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Kazimierz Mikulski (1918 - 1998)

Kazimierz Mikulski (1918 - 1998, Polska)

Kazimierz Mikulski rozpoczął studia malarskie przed II wojną światową w ASP w Krakowie, kontynuował je w latach 1939-1940 pod kierunkiem prof. Fryderyka Pautscha w Kunstgewerbeschule, powstałej za okupacji w miejsce Akademii. Po wojnie ukończył dwuletnie studia aktorskie w Studio Dramatycznym przy Starym Teatrze w Krakowie i do 1948 pracował jako aktor. Jednocześnie w 1945 ukończył Warsztat Filmowy Młodych. W latach 1948-1979 był kierownikiem plastycznym i scenografem Teatru Groteska w Krakowie, dla którego projektował lalki, kostiumy, dekoracje itp. Równolegle cały czas zajmował się malarstwem i działalnością w kręgu Tadeusza Kantora, zrazu jako członek Gru-py Młodych Plastyków, a od 1957 w Grupie Krakowskiej, której był współzałożycielem i prezesem w latach 1965-1967. Był też członkiem zespołu teatru Cricot 2, grał m.in. w spektaklach Kurka wodna, Nadobnisie i koczkodany, Umarła klasa oraz we własnej sztuce Cyrk. W swych obrazach z drugiej poł. lat 40. artysta przedstawiał lekkie, linearne formy unoszące się w pustych przestrzeniach. Było to malarstwo zarazem surrealistyczne i abstrakcyjne. Lecz już ok. 1950 zaczął malować w charaktery-styczny dlań sposób - odrzucając abstrakcję, prezentował niezliczone warianty i układy kilku ulubionych motywów (głowa lub postać kobiety-lalki, koty, motyle).

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Ivana Kutilkova

September 10, 2013, 2:23 am

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Ivana Kutilkova

"I have found art throughout my entire life to be essential to who I am and I am very passionate about it.

It took me this whole time to realize that art is something I have to do, not only to
express myself or to get better skill at drawing. It's the key ingredient to what makes us humans, soul and mind. Art is the basic urge we experienced as cavemen or as children and it is the way of keeping us connected with our deeper self... and so I create!"

Ivana Kutilkova

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María Gamundí

September 10, 2013, 3:31 am

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Maria Gamundí

Maria Gamundi was born in 1952 in Caracas (Venezuela). She studied at the Prati Institute of NewYork and the Scuola del Libro of Urbino. She lives and works in Versilia, dividing her time between Monteggiori and Pietrasanta. Since 1973 she has held important personal exhibitions in Italy, Europe, the United States and Latin America. Her female nudes exude a sculptural force exalted by her deep knowledge of the materials, as well as an instinctive joie de vivre which well represents her strong Latin American roots.

The Work of María Gamundí

"....the artist appeal to that part of our being which is not dependent on wisdom; to that in us which is a gift and not an acquisition - and therefore, more permanently enduring. He speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation - and the subtle but invincible; e conviction of solidarity that knits together the loneliness of innumerable hearts, to the solidarity in dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear, which binds men to each other, which binds together all humanity - the dead to the living and the living to the unborn"

Josef Conrad in the Preface to
the second edition of The Nigger
of the Narcissus.

Maria Gamundí

The origins of particularly fine artists seem to lie, as Conrad suggests, in some magic ability which a few rare people have, to speak from deep inside, a universal language. What is spoken by such artists is truth about us and our world, basic laws, and relationships which somehow the artist is able to perceive. She or he describes for the rest of us those feelings and where they lie, in some outward form - some color, or shape or sound - fashioned to appeal to as many of us as possible. This creation, which we call art, helps each one of us in turn to search for and, hopefully, find that same inner place and those same joyous feelings.

And this searching energy, springing as it does from inside, is creative and positive. in surging out to shape art it is a tempering force to that exterior one which deals in accumulating power and material things.

Being led thus by the artist and by art away from everyday difficulties to a common interior place of thought and emotion, from whence we all originate, gives us an enormous release, a freedom, like being children again.

To do this, the true artist obviously cannot lie. And the more truthfully, the more artfully she or he leads us and joins us in that "solidarity' Conrad speaks of , the greater will be the resulting art form. This is why all great art is about freedom and truth, and why art both springs from us all, and belongs to us all.

María Gamundí is one of those rare people, an artist who uses her emotions to perceive truth, unveil it for us, and then craft that with great skill into her sculptures.

Three main roots to her work are clear. The first is European, A classicism of astonishing clarity and simplicity. This comes from the Mallorcan blood of her father. Gamundí is a name like Miró, like Dalí and Gaudí, from Cataluña.

The second is South American, and consequently Oriental, for the Indians of America trace their distant past in THE East. Maria's mother's family are partly native Venezuelans.

The third is the most profound of the three, a root which is universal and timeless: the female. No one of us can ever be indifferent to the human body - particularly to the female body. In using it so poignantly to search for ideal relationships, Maria touches profoundly upon our own births, and our creative energy. Her languid, fecund, maternal women appeal "to that in us which is a gift..." and speak "to our capacity for delight and wonder, to the sense of mystery surrounding our lives".

María Gamundí doesn't feel any need to be part of a group-idea, of a movement, or of a moment. In its search for perfection, and in its calm humanity, her work springs not from other people or other work, nor even from any given moment in time. It springs from the thoughtful, caring observation and stimulus of nature....

Richard Fremantle

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Valérie Hadida

September 10, 2013, 4:42 am

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Valérie Hadida

Diplôme de l’Ecole d’arts plastiques et publicité de la ville de Paris (EMSAT).

Travail dans l’atelier de Marielle POLSKA pendant 6 ans.

Prix Fondation Paul RICARD en 1991.

Expose en galeries depuis 1990.

Les “petites bonnes femmes” de Valérie HADIDA.

“Elle aime les surnommer ainsi ... Sans doute avec un brin de provocation, mais très certainement avec beaucoup de tendresse. Ces figures féminines multiples sont un regard hors temps, hors contraintes, hors normes. De l’adolescente à peine sortie de l’enfance, à la femme mature, elles sont toutes là pour nous rappeler le cheminement de la femme, des femmes. Fières ou faibles, en action ou dans l’attente, fragiles ou fortes, poussées par le vent de la vie ou s’arc-boutant contre ses vicissitudes, aucune ne laisse indifférent.

... Les “Petites bonnes femmes” de Valérie sont un émouvant voyage à travers l’âme humaine.”

Isabelle RAKOTOVAO (Historienne d’art)

"Valerie is a sculptor and a painter. She works mainly in Bronze and creates these lovely girls with masses of Medussa like hair and delicate facial features. She captures the humanness and holiness of girlhood. The colours used in her Bronze are outstanding with dark charcoal grey tones being a favourite. "

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Marine Jeannard

September 10, 2013, 5:48 am

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Marine Jeannard

Dans son jardin secret, Marine Jeannard
dialogue avec les fées qui viennent poser
un regard bienveillant sur le monde.
Le soir venu, les fées s'endorment
avec le globe terrestre,
tendrement dans leurs bras.
A l'aube, elles disparaissent afin de
renaître ailleurs.
Mais quel ailleurs ? Pas chez les adultes !
Ils ne comprennent rien aux contes de fées...

Frédéric Altmann

Marine Jeannard
Message

J'ai souhaité représenter ici tous les aspects de la vie.

Le rire et la fantaisie; les pleurs et la souffrance, le rêve et l'idéalisme; le tout avec une

certaine réalité.

Car pour moi, la vie a besoin d'être montrée telle qu'elle est, vraie, authentique, merveilleuse

et cruelle aussi.

J'ai compris avec le temps que tous les aspects existentiels avaient leur place, qu'ils étaient

indispensables à l'évolution...

Enfant, pourtant, j'aurais tellement aimé abolir la souffrance physique et morale ! Faire que

n'existent que rire et joie.

Mais la joie est, justement, parce qu'éphémère et fragile, sublimée par les peines traversées...

Et parmi les peines, n'en existe-t-il pas qui puissent être ramenées à une autre valeur

qu'apparemment négatives...?

N'y a-t-il pas dans le plus profond désespoir, les véritables et meilleures solutions...?

Les réponses extraordinaires aux énigmes de la vie...?

Puis, comme vous, un jour j'ai un peu grandi. Et depuis , la vie m'apparaît comme une aventure.

Un grand jeu, avec ses cartes pour de vrai !

Et alors, mettre l'accent sur la vie, les scènes qu'elle nous présente, est devenu pour moi une

obligation, comme un chemin tracé auquel j'obéis avec docilité.

Créations 2
Et pour ceux qui ne comprendraient pas le sens de ces divers aspects, je n'ai rien inventé;

la vie était là avant moi !

A nous de la rendre belle, elle le mérite.

Marine

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Rodrigo Lara

September 10, 2013, 7:03 am

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National Prize of Visual Arts 2010

1st. Place
200 Years, Stop the Violence 2010

Rodrigo Lara

Artist Statement

The human figure is the meeting point of the gravity of the matter and the ethereality of emotion. I portray emotion and psychology as they course through, and alter the form of, the mundane human body. Many of my works explore the fact that fear and love affect the body with similar intensity.

After he graduated from University, he has been teaching courses and workshops in Mexico and the U.S.A. He has had 19 solo shows and participated in over 50 collective exhibitions in and out of his country. Currently some of his work exists in private collections all over in Mexico, Canada, United States, Switzerland, Sweden, Czech Republic and China. Currently, he lives and works in Querétaro, México.

Education:

June 1999 - June 2002 Instituto Allende, San Miguel de Allende, Gto. Méx. Bachelor’s Degree in Visual Arts, Suma Cum Laude

Courses and Workshops Attended:

2007 “Visual Arts Pruduction” (Jordi Boldó) Art Museum of Querétaro. Querétaro, Méx.
2006 International Mural Encounter, Casa de la Cultura de Coyacán. Mexico City.
2003 - 2004 Self-Help Graphics- Monoprints, Yollacalli Youth Museum, Chicago, IL, USA
2004 “Figurative Scultpure” (Susan Clinard) Palette and Chisel Academy, Chicago, IL, USA
2003 “Figurative Sculpture” (Omar Vera) Lillstreet Art Center, Chicago, IL, USA
2003 “Ceramics and Drawing” (Jason Walker) Lill Street Art Center, Chicago, IL, USA

Scholarships:

2010 “Apoyarte” Art Project Support. Instituto Queretano de la Cultura y las Artes, Querétaro, Qro. Méx.
2008 Sculpture production of the series “Masks” DRT Foundation, Querétaro, Qro. Méx.

Awards:

2010 1st Place in Sculpture “National Prize of Visual Arts” Libertad Gallery, Querétaro, Qro. Méx.
2010 Honorific Mention, National Ceramic Award. Tlaquepaque, Jalisco, Méx

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Roberto Santo

September 10, 2013, 1:58 pm

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Roberto Santo

Born: 1953 October 19th, New York, New York.
Education: 1975 University of Oregon, B.A.
1978 Art Center College of Design.

Select Awards

1981 American Photography; Gold Medal, “Figurative Study”
1985 Graphis Nude Photography; “Birth”
1986 Kodak International Exhibit; Gold Medal
1987 Addy Photography ; Gold Medal; “Portrait Series”
1992 Communication Arts; Gold Medal; “Still Life”
1993 Florida Film Festival; short film; “Film is Art”
1997 Addy 30 second commercial; Gold Medal, “YMCA of America”
1999 United States Postal Stamp Commission; Fine art photography; “Flower Series”
2000 Albin Polasek Sculptural Museum; “Artist in Residence”
2003 United States Olympic Committe; Sculpture; “Flight of Victory”
2004 American International Artist Assoc. “Forbidden Fruit”
2005 “La Salon” Figurative competition; “Forbidden Fruit”

Roberto Santo

For sculptor/ painter/ photographer Roberto Santo, art became a way of life when, at age16, he embarked upon an apprenticeship with Robert Peak, the celebrated illustrator... and his father (Santo was his mother's maiden name). Any illusions he may have had about not following in his sire's footsteps were dispelled as he embraced his innate talent. He went on to hone it in his native city, at New York's Art Students League and The New School of Art. Santo subsequently attended the University of Oregon, earning a prestigious Bachelor of Fine Arts degree. He then continued his studies at Los Angeles' Art Center College of Design. By the early 90s, Santo began to realize his current ''modern Renaissance man'' reputation, as his attention shifted to painting and then sculpture. In 1996, he moved his family to Italy, first to Florence and then to Chianti. Two years later, they moved to the Italian medieval village of Pietrasanta on Tuscany's northern coast, a town that has nurtured artists since the late 15th century when Michelangelo began utilizing the marble from its neighboring quarries. In the tradition of the great artists of the Renaissance, Santo is passionate about the human form. Like Michelangelo and Bernini, he has devoted himself to its exploration in bronze and marble, often working in monumental size. Embracing the time-honored tradition of figurative sculpture, Santo believes that his art celebrates the past while allowing it to transcend into the present. His approach is unique, as he often leaves evidence of the actual casting process in his finished work. He insists on hand- crafting every piece, while so many other artists of his caliber depend on a corps of assistants.

His time-transcending work has been internationally recognized and heralded. In the nearly 40 years since beginning his creative journey, Santo has been awarded more than 50 internationally recognized citations for his impressive work in film, photography, graphic design, painter and sculptor. He was even commission by the United States Postal Service to design a stamp series, which remains one of the top selling issues of all time. He has garnered commissions from major corporations including Microsoft, Nike, Toys ''R'' Us, and Paramount Pictures, and has become the core of many private collections. Most recently, the Boca Raton Museum's Acquisition Committee voted to purchase Santo's monumental work ''Eternal Transition'' for its permanent collection.

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Yasmin Sinai

September 11, 2013, 2:44 am

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Yasmin Sinai

Born in Tehran-Iran 1969

1992 - Graduated from Tehran Al Zahra University in Graphic Design
1994 - teaching Arts in German School in Tehran
1995 - Private Exhibition in the German Church in Tehran
1996 - Private Exhibition in the German Church in Tehran
1997 - Group Exhibitions in Gallery Golestan Tehran (100 Work ,100 Artist)
1998 - Group Exhibitions in Gallery Golestan Tehran (100 Work ,100 Artist)
1999 - Biennale of Children’s Book Illustration in Tehran ,Museum Of Contemporary Arts
2000 - One Man Show Exhibition in Arya Art Gallery Tehran
2001 - One Man Show Exhibition in Arya Art Gallery Tehran
2002 - One Man Show Exhibition in Arya Art Gallery Tehran,One Man Show in Kavir Gallery Rafsanjan
2003 - Group Exhibitionen in Arya Gallery ,Artists Forum Tehran,Tarho rangh Gallery ,Laleh Gallery ,Kavir Gallery Rafsanjan
2004 - Group Exhibition Doha Qatar,Group Exhibition 3rd.Cultural Festival
2004 - Angel Exhibition Saad Abad Gallery
2004 - Angel Exhibition German Church Teheran
2005 - Angel Exhibition Assar Art Gallery
2006 - Group Exhibition Museu Da Agua Portugal
2006-Shadows Exhibition Arya Art Gallery Tehran
2007-Group Exhibition Haft Negah ,Niyavaran Cultural Center Tehran
2007-Qanat Al Qasba , Iranian Art Festival ,Sharjah
2007-From Darkness to Light ,Angel exhibition,Sialk Art GAllery Tehran
2007-The Shadow ,Total art Gallery ,Dubai

Sculpture Artist, Owner of Suitcase Museum (Children Portable Art Museum)

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Margó - Sylvaine Laurent

September 11, 2013, 3:38 am

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Margó - Sylvaine Laurent

Je peins les expressions humaines ; douces, vulnérables, fortes ou passionnées.
Je cherche une représentation des formes et des couleurs en me laissant guider par mes sensations et mon imagination, dans une prometteuse et constante quête d'un équilibre esthétique.
J’ignore souvent où je vais me poser car je me laisse porter par tout ce qui me traverse, parfois des moments d'errance et de souffrance ou bien, lorsqu’au détour d’un chemin, un personnage, une émotion, une scène, se laissent saisir...
Si mes inspirations graphiques et thématiques sont très diverses, chaque tableau a vocation à illustrer l’être humain au cœur de son environnement physique et psychique, évoluant dans une société que je vois aussi fascinante qu’oppressante. Le figuratif n’est ici qu’un support à la communication et à la réflexion, le chemin vers un monde d’idées et de sensibilité.
J’utilise la couleur pure (ou pas) comme élément structurel mais en la mettant au service d’une démarche narrative exprimée par une touche à la fois directe et maladroite. Je gratte, je frotte, j'efface, je salis, j'y incorpore de la matière. J'y cherche l'accident qui a laissé une cicatrice sur le parcours d'une vie.
J'apporte une attention minutieuse au choix des couleurs et aux sentiments qu’elles invoquent.

Je crois que quelle que soit la démarche de l'artiste, l'oeuvre possède un lien étroit avec le vécu et le regard intuitif (conscient et inconscient) de l'auteur. Ce sont ces liens qui entraînent l'artiste à dialoguer avec l'oeuvre durant sa conceptualisation.
L'expérience est unique lorsqu'on est habité par une vision, elle nous fait vivre une relation intime avec le matériau et ce, durant tout le processus de création.

Je suis influencée par des artistes tel que: Francis Bacon, Mark Ryden, Valerio Adami, Lucian Freud, Jean Rustin, Ray Caesar ou encore Leigh Bowery.

PRIX ET HONNEURS :
2013 : Médaille d'argent Salon du Val de Cher
2013 : Lauréate du concours Royal Seyssel - Etiquette de la cuvée Amédée V
2012 : Palmes d'Or ARTOULOUSE
2011 : Révélation – Concours international de la Fédération Nationale de la Culture Française (FNCF)
2010 : Diplôme d’honneur, 22ème aigle de Nice
2006 : « Prix de la Mairie » - Salon d’art de Saint-Laurent de Lolmie

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Andréa Facchini

September 11, 2013, 5:56 am

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Andréa Facchini

Education -EBA - Escola de Belas Artes- UFRJ
Brazil

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LA JOIE DE PLIER

O exagero da cor, a vontade de conferir à pintura um esplendor, em suma, um sentimento pictórico hedonista caracteriza os trabalhos de Andréa Facchini. Contudo, suas obras atingem tais valores de maneira particularmente inteligente e sedutora: a artista consegue transformar o desejo, a materialização do prazer em um procedimento pictórico, ou seja, a consecução de uma espacialidade capaz de extrair do campo da tela uma nova possibilidade de sua articulação. Isto não ocorre por nenhuma menção literária ou imagética, mas através de um pensamento de pintura manifesto na sua paleta e seu desenrolar: inspirada em tecidos achados seja no comércio popular, seja em lojas mais sofisticas, ela percebe neles conjunções cromáticas inusitadas. Dobrando-os e justapondo-os, eles demarcam contrastes a um só tempo agudos e sutis – criam uma luminosidade intensa com suas cores fortes e abertas, mas parecem preservar secretamente uma tonalidade que os equaliza. É evidente que sua pintura não é tonal (ainda mais no sentido de um espaço mimético), mas é peculiar o fato dela estabelecer uma luminosidade total e contínua pela harmonização de segmentos de pintura – este termo, no seu caso, me parece mais adequado do que a idéia de planos – que poderiam, mais do que conflitantes, ser inconciliáveis e nela se ajustam confiantemente.

Um outro elemento assinala sua habilidade em transformar o prazer em um método efetivo, e não um simples estado de espírito: a desenvoltura das linhas arabescas que se infiltram em cada centímetro da tela. Mesmo os espaços deixados vazios conspiram a favor deste avizinhar-se de uma pintura quase infinita, que anseia prosseguir indefinidamente por aquelas brechas, mas também é contida pela força daquelas partes que, apesar de parecerem livres, ganham um peso efetivo por conta de sua vibração límpida. É um tipo de élan igualmente testemunhado em seus desenhos, cujas linhas vão se multiplicando e enovelando uma narrativa, uma “história da linha”, que perpassa e se mescla com motivos sugestivos de uma dimensão íntima ali contida e traduzida em figuras submersas naquela trama. Mais do que uma afinidade eletiva com a pintura, seus trabalhos buscam a todo momento fazer desta relação amorosa uma verdade pessoal visual, um impulso plástico que reinventa aquela disciplina, uma potência delicada, mas segura.

Guilherme Bueno

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Ula Pagowska - Urszula Pągowska

September 11, 2013, 6:58 am

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b. 1982 in Warsaw

2001 - 2006

Studied graphics at the Warsaw Academy of Fine Arts

2004

scholarship at the Accademia di Brera in Milan

2006 - 2008

postgraduate studies in the cathedral scenery at the Warsaw Academy of Fine Arts

2007

First place in the competition "Young Orly" poster

2010

Second place in the painting competition "My Little Gallery" Casa Marvell

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Paulina Maksjan

September 11, 2013, 1:12 pm

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Paulina Maksjan

PAULINA MAKSJAN (ur. 1982 w Koszalinie)
Studia w pracowni dyplomowej malarstwa u prof. Macieja Świeszewskiego i w pracowni rysunku wieczornego u prof. Marii Targońskiej, oraz na specjalizacjach scenografii u prof. A. Markowicza i ilustracji u prof. Jadwigi Okrassy. Artystka projektuje kostiumy i rekwizyty dla teatru i opery, angażuje się w animację. W 2009 roku pracowała u boku scenografki Zofii de Ines przy realizacji kostiumów w Teatrze Jana Kochanowskiego w Opolu. Prace Pauliny Maksjan można oglądać na wystawach zbiorowych, a także indywidualnych. W 2007 roku reprezentowała Polskę we Włoszech na Biennale Młodych Artystów z Europy i Krajów Śródziemnomorskich w Bari. W tym samym roku otrzymała wyróżnienie w Konkursie Studenckim Fama w Gdyni za performance „Zapis Tańca”.

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Martta Węg - Marta Węgrzynowska

September 11, 2013, 2:07 pm

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Martta Węg

Martta Węg - Marta Węgrzynowska (ur. 1978 w Tomaszowie Mazowieckim)

She was born in 1978 in Tomaszow Mazowiecki, Poland. She received her secondary education in the Private School of Drawing and Painting (Prywatna Szkoła Rysunku i Malarstwa) in Lodz and in the Lycée of Plastic Arts Liceum Sztuk Plastycznych) in Lodz. She later enrolled at the European Academy of Arts Europejska Akademia Sztuk) in Warsaw, from which she graduated with honours having completed her studies in the Department of Painting under the guidance of Prof. Barbara Szubinska. She also obtained an additional degree in workshop graphics and drawing. She was short-listed by the European Academy of Arts for the Award of the President of the Republic of Poland in a competition for the best diploma project in the art colleges, the so called Year 2002 Diploma, in the province of fine arts and applied arts. She has been awarded the Mayor of Warsaw Award for the best graduate of the Warsaw colleges. She also has been awarded twice an artistic scholarship of the Minister of National Education. She has been a participant of many individual and collective exhibition in Poland and abroad. She has shown her paintings, among other places, in the Art Présent Gallery in Paris, and in Arnhem in the Nethrlands.
She lives and works in Warsaw.

The artist's freedom makes it possible to penetrate the space of art in search of one's own inspirations. It is the latter that are for me the points of reference, road signs which conduct me to the essence of cognition - the cognition of the world, and thus, of myself, and which enable my art to become even more personal. The process of creation provokes me to as full and unrestrained expansion of my own self as possible. Each of my paintings is an intimate conversation not only with my self, but also with the world, with my fellow men. Painting is for me a means to express my judgements and opinions, an outlet for my pent-up, innermost emotions. At no time, however, is a painting of mine a manifesto calling on the world, or a shout of pain, it is rather a form of dialogue with world, with people, and with nature. Each painting contains a lot of questions that trouble me, and, quite often, it also contains some of the answers. The questions usually concern man's function in the world, the tasks that we must face, the barriers we have to overcome, as well as man's desires, dreams, and expectations. The questions often change into a reflection on our psychic condition, our weaknesses, but also on the great strength inherent in ourselves. This is probably the reason that, while the point of departure for my paintings is man as such, the specific source of inspiration is provided by concrete persons who get transformed in the paintings, they assume various postures, sometimes they put on masks. But at bottom they remain themselves - and this is probably why they keep on inspiring me. The creative process starts for me much earlier, before I take hold of the painting brush standing in front of the canvas, it starts at the moment when a creation provoking stimulus appears. It may often come from the surrounding world, from nature, landscape, or people. I feel privileged to be able to try, at least, to preserve, in the way that suits me most, shapes, colours, smells. Consequently, I make a quick sketch of what I see, I record my feelings, I verbalise my associations, which start to live their own lives, some of them very soon, and some after years. This is the way my pictures usually come into being, and each of them is a friend who is always there, waiting for a talk. It is in an intimate relationship with them that I experience a feeling of true friendship, a feeling that, with every new painting, becomes deeper, broader, and unites my painting and my self into a whole new world.
Martta Weg

Life is a marvel, my friend - sings a leading actress in the movie Tango by Carlos Saura. And by this declaration alone, the director tries to persuade us that it is through tango that this marvel can be expressed.
For tango, as claimed by an ever increasing number of its aficionados all over the world, appears to be not just a dance, but also a philosophy, a creed, and a way of life.
As one of the tango teachers put it during his chat to Beata Pawlikowska, a famous Polish explorer:
We all have dreams that we cannot fulfil, problems we are not able to solve. We are full of doubt, full of dither and longings. In a sense, we are all immigrants in search of our true home. But the home does exist. It can be discovered in tango.
Tango originated in the docks of Buenos Aires, amongst the immigrants looking for jobs in Argentina and... the ladies from the local brothels. Through the dance, the immigrants used to relieve their anxieties and feelings of homesickness and failure. With time, tango evolved into a symbol of love and death. It was danced by Rudolf Valentino in The Four Horsemen of the Apocalypse; having lost his wife, the main character of Last Tango in Paris drowned his sorrows in alcohol; Scent of a Woman featured the blind colonel who taught his young friend how to hold a woman in tango and how to possess her, and in Tango by Sławomir Mrożek the uncouth Edek enchanted his educated uncle with the dance.

And here is where we should begin telling the story of Martta Węg painting. Martta visited Argentina, the cradle of tango, and the dance became, as the title of the exhibition suggests, the perfect setting to observe the people, the nature, but most of all (it is my suggestion only), to scrutinize herself.
A few years ago, professor Barbara Szubińska referred to Martta as a young painter who does not get inspiration from the ideas of other masters. She is boldly creating her own individual world, distinctive through its subtle poetics, refined sophistication of colours, as well as a nostalgia of some sort.
I do not know if the Argentine adventure has changed the artist as such, but it has undoubtedly influenced her works. The change has not been a revolutionary one but seeing the araucaria forests of Patagonia, the rusty and rocky coastline, the glaciers and the waterfalls, has for sure intensified her colours, subdued the light which used to break space in her paintings, and deepened the penetration of white...
The colour white in Martta Węg paintings has always been a prominent feature, it has come in through transparent colours, has been applied in impastos and finished off with light reflections...
Through their elegance of style, the paintings by Martta Węg resemble the ones by Watteau, but also they allude to the genre represented by Hodler, Grien and in Poland by Grzywacz....
The concept of walking along the paths is distinctive of Martta Węg's works. But the women walking those paths do not remind you of the exuberant company depicted in the paintings by Watteau, rather they resemble the female characters by Hodler, who are well aware of the passage of time (View into Infinity) or the more explicit ones by Grien (The Seven Ages of Woman). We are moving monotonously in circles, the same vicious circles...
The Argentine tango introduced a male figure in Martta's paintings, which, except for a few occurrences, has been absent from her works for years. But here he is set in his proper place - he does not bring in passion nor daredevil solutions to the problems by using a knife...
The dancing couples behave like the ones at the milongas in Berlin, London, Amsterdam, and apparently in Warsaw, too. They turn up just to enjoy the dance. Everyone remains self - contained, focused on their own thoughts and problems.
Ostentatiously, the artist becomes an unemotional watcher of the dance which could perfectly reflect the stoic philosophy, of what is insubstantial...
Martta's interpretation of tango exemplifies what the above-mentioned teacher once said.
In her paintings, she is setting up the dancers and the other characters like a director who tries, through his actors, to say (also, or perhaps mostly, to himself) something about the world, his perception of reality, and to let those teeming disturbing thoughts go...
Standing by this attitude unwaveringly since the very beginning of her artistic career, both technically and intellectually, Martta Węg has established a true enclave in the boundless space of the overwhelming rat race.
Andrzej Matynia,
Warsaw, 2010

I first met Mrs Marta Węgrzynowska during the entrance examination to the European Academy of Arts in Warsaw. I was very taken with her Gothic looks making one think of the so called "beautiful madonnas" of the Middle Ages. During her whole studies, the author of the present exhibition was characterised by uncommon modesty going along with boundless patience and dedication.
She is now reaping the fruits of her talent and of the above mentioned traits of character. Knowing her creative passion and sensitivity, I am convinced that she will make her name in the world of art, which is what I wish her most heartily.
Antoni Falat
Warsaw, 2002

She is a young person who has the look of a teenage girl, but the personality of a mature adult. She is focused, thorough, serious, and responsible. She observes and drinks in the world with a child's sensitivity and total absorption in order to later express her own reality in a conscious and mature way, and in her own, unaffected language.
Marta's paintings and graphics are distant projection of the reality held in her memory and not in the eye, and filtered through her feelings.
Marta's works, even when seemingly study-like, have an air of poetry, or rather fairy tales. They are menaingful and speak for themselves, everybody should experience them in their own way.
Danuta Kolwzan Nowicka
Warsaw, 2001

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Chiu-i Wu

September 11, 2013, 5:59 pm

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Chiu-i Wu

"When I was little, it was with pen and paper that I felt expressive.. drawing and drawing without thought.. The feeling never left me, and I graduated to paint, then finally to ceramics..

I developed my art and ceramics in my home country, Taiwan and exhibited my first work in Taipei. I loved it.. but always had a hard time, when asked about my work.. I have no deep meanings. Not ones that I recognise anyway! I just produce from my heart, sensing when what I'm creating begins to feel right.

Ceramics was an adventure into clay and glaze, and I studied hard to be able to create the feeling I wanted. When I moved to England, I brought many glaze recipes, but soon discovered a new range of English clays to explore. I came to England in 2003... I can feel my love of English summers, blackbirds and sheep touching my heart and influencing my work. I now exhibit in both countries. I never use moulds.. all my work is hand built with great care for quality, and all my paintings are original. I hope you enjoy it as much as I love creating it.."

Chiu-i

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Chiu-i

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Adam Rish

September 12, 2013, 1:13 am

≫ Next: Paul Cherwick

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Adam Rish

Born London 1953
Studies: Medicine, University of Tasmania 1972-74, 1976-78;
Printmaking, East Sydney Tech 1979, 1983; Bronze Casting, ESTC
1990-92; Fine Arts, Sydney Uni 1985-91, MFA NSW Uni 1993-95
2009 Marble Carving, Carrara, Italy.
Qualifications - B Med Sc, MB BS, FFMACCS, Dip Sculpture, BA (Hons), MFA
Travelled widely in America, Europe and Asia working at various
periods in Indonesia, India, France, Italy, PNG and Turkey.
Worked as professional artist, environment officer, cosmetic and laser medicine and surgery,
art teacher, film script writer, graphic artist.

AWARDS
1979 VAB Special Purpose Grant
1981 VAB Studio Residence, Karolyi Foundation, Vence, France
1984 VAB Studio Residence, Besozzo, Italy
1984 Australian Film Commission, Comedy Fund Grant
1992 VAB Travel Grant
1997 Asialink Residency IKJ Jakarta
1998 City of Hobart Art Prize

Adam Rish has exhibited around Australia over the past 35 years. He is represented in many of the major collections in this country and has won numerous awards. He has worked in collaboration with Aboriginal painters like Fred Tjakamarra from Balgo, and Hector Jandany and Lily Karadada from the Kimberley. He also designs textiles, including kilims from Konya, Turkey, ikat weavings from Sumba, and tapa cloth, in Tonga. Since 2004 he has worked with Mexican potter Lino Alvarez in Hill End, Australia. For the past 3 years his main body of work has been wooden sculpture, based upon Southeast Asian tribal imagery, made in collaboration with I Wayan Sumantra, in Ubud, Bali.

The artist’s interest is in cross-cultural collaboration as "world art" (like "world music") to affirm indigenous culture, regional diversity and the possibility of productive intercultural relations. He takes traditional techniques and adapts them by employing modern images, so for example, cars, planes and television sets may take the place of traditional abstractions of flowers, birds and clouds.

The collaborative works are discussed with his co-artists and the images relate to their environment, media and traditional iconography. Rish’s contribution is to place these events in a contemporary context by inserting the kartiya (white person) elements: Thus we see Toyota Dreamings, a Guirirr Guirirr Ceremony Dewari (devil) appears on the midday show and an owl reads the late, late, news, while a Wandjina figure alights from a Weber barbecue flying saucer carrying Erich Von Daniken's guidebook.

In the Mimbres influenced ceramic "Mimbres Man" an armless figure with a television face hops around on a long curling tail, while in "Kumete" an anthropomorphic chicken is surrounded by bone televisions.

As for the sculpture: In “My Kingdom for a Horse” a wooden horse rides backwards on the back of a blind king. “Noah” has only a climate change desert to walk his boat over. “Totem”, an Asmat house pole, stacks cars, phones, houses, soldiers and winged AK47’s beneath a little king. “Metamorphosis” has a Kafka cockroach writing a book out of his hand. “Vanity Eunuch” is a glass coffee table supported by a kneeling Narcissus staring into a palette shaped mirror.

While Rish’s work revels in both exotic and graphic elements, in fact these forms are not exotic to the tribal societies from which they come. This art is integral to their collective, cultural consciousness and as such draws spiritual and visual authority from this certainty of meaning.

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