Jorge Tamayo

September 18, 2013, 12:02 pm

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Jorge Tamayo

He was born in Bolivar, Carchi province, Ecuador in 1948. He lives in Costa Rica.
15 individual exhibitions:
1991 Kandinsky Gallery, San José, Costa Rica
Costa Rica Country Club Gallery, San José, Costa Rica
1995 Espacio Gallery, San Salvador, El Salvador
1996 Imagen Art Gallery, Panama
Collective exhibitions: 75
Awards:
First Prize, Ecuador's Culture House, II Painting Contest "Quito City", Ecuador
First Prize, Cultural House General Secretary House, Ecuador, III Painting Contest "Quito City", Ecuador
First Painting Contest "Russian Jew Minority"
First Prize, Painting Contest "Ciudad Hacienda de Los Reyes", San José, Costa Rica.
First Prize, "Pedro León" for Watercolor, IX Drawing, Painting and Engraving National Contest, CDXL VIII Spanish Foundation Anniversary from Quito, Ecuador.
Firt Mention, I Bienal of Costa Rican Painting, organized by Lachner & Sáenz Co., San José, Costa Rica.

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Roberto Diaz

September 18, 2013, 12:14 pm

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Roberto Diaz - Roberto Díaz García

Nace en Managua, Nicaragua el 05 de Diciembre de 1953. Inicia sus estudios de Arte en el año de 1970, en la Academia Nacional de Bellas Artes en Managua, destacándose en la rama de dibujo Artístico.

En el año de 1972 tiene la oportunidad de viajar a Costa Rica, donde decide residir y prosigue con sus estudios de dibujo y pintura, en la Escuela-Taller Casa del Artista, alternando con los Estudios Académicos de Ceac de España, en la especialidad de dibujo a Pluma.

En al año de 1979 forma parte del grupo: Parque de Expresión, del cual fue miembro fundador, recibe clases de escultura, cerámica modelada, talla en madera, también en la Casa del Artista con el Maestro Néstor Zeledón Varela. En el año de 1980 realiza un curso libre de Grabado en la Universidad de Costa Rica, con los maestros Bernal Ponce y Bernal Madriz.

Premios:

Desde 1978 obtiene nueve premios y cuatro menciones de honor.

Paisaje Rural Costarricense, patrocinado por el Ministerio de Cultura y el Museo de Arte Costarricense.

Artistic painter, draftsman and craftsman of wood since a young age.

He learned the trade in the House of the Artist, by his teacher Zeledón Nestor Varela

Recently he is entirely dedicated to artistic paintings, skillfully handling techniques in oil, acrylic and pastel. They also highlight his detailed pencil drawings and pen.

Diaz has participated in the internationally renowned exhibition Cow Parade, held in Costa Rica in 2008.

Throughout his career, has won several awards and honorable mentions. One of them has been granted by the Ministry of Culture and the “Museo de Arte Costarricense”, in the area of rural landscape in Costa Rica.

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Annie Cotterot

September 18, 2013, 12:46 pm

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Annie Cotterot

Chimiste de formation, Annie COTTEROT découvre la céramique au travers de la poterie à laquelle l'initient différents potiers régionaux dans les années 1975 à 1980.

Continuant son parcours, elle s'oriente vers le modelage et pratique la sculpture d'après modèle vivant.

Puis elle s'investit dans un atelier ou elle enseigne pendant 18 ans la céramique sous toutes ses facettes : Art du modelage, technique de façonnage, chimie des émaux, procédés d'émaillage, conduite de cuisson, etc.

Pendant toutes ces années, elle n'a pour but que de faire partager tous les essais qu'elle entreprend jusqu'à les maîtriser, création d'émaux originaux, terre sigillée, pratique du Raku, Raku pellé, enfumage, cuisson ancienne suivant la technique des fours romains, … Annie est avide de tout connaître, de tout essayer.

Depuis quelques années, elle a décidé de présenter son propre travail, elle expose aujourd'hui ses pièces Raku un peu partout dans la France.

On ne peut rester insensible devant tant de créativité et devant cette maitrise dans cet art issu de l'antiquité.

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Jeannie Griveau

September 18, 2013, 1:26 pm

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Jeannie Griveau

sculpteur, céramiste nous propose ses petits personnages romantiques. L'éternel féminin, il n'y a rien de plus beau. Elle réalise avec délicatesse un monde de quiétude et d'harmonie.

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Eoghan Bridge

September 18, 2013, 2:35 pm

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Eoghan Bridge

Eoghan Bridge creates evocative sculptures with a delicate blue or green finish, often thoughtful but at the same time strong and of the moment with a unique style of his own.

His sculptures explore the relationship and composition between horse and rider, and the human figure. He produces sculptures in bronze, ceramic, resin and aluminium.

He has received awards and commissions including wall sculptures for the P&O Cruise ship Ventura, an over sized equestrian bronze for Rutland Court in Edinburgh and was awarded the 'Ireland Alloys Award' from the Royal Scottish Academy.

Eoghan Bridge's sculpture is on show at various galleries throughout the United Kingdom. He has taken part in many group and solo exhibitions.

Eoghan Bridge was born in Edinburgh. He now lives and works in a small market town in Yorkshire.

Following his degree show in 1985, he exhibited with the Duncalfe Galleries, Harrogate where the art critic for the Evening Standard, Brian Sewell, praised Eoghan's work and added a bronze sculpture to his own art collection.

Eoghan has two large bronze public sculptures in the city of Edinburgh at Rutland Court Horse & Rider and Silvermills Horse~Rider~Eagle.

He produces his sculpture in bronze, ceramic and resin bronze & aluminium and his work explores the relationship and the composition between the horse & rider, despite its rich history in the world of art, it is a relationship that Eoghan feels he can explore further. Another focus of Eoghan's work is the human figure and the abstract form.

Born

1963

Edinburgh

Studied

1985

Harrogate College of Art & Leeds Polytechnic (fine art degree)

Awards

1988

Awarded a commission to design and produce the 'Yorkshire Television Press Awards'

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Vincenzo Calli

September 19, 2013, 4:17 am

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Vicenzo Calli

Vicenzo Calli, 1953
The Italian painter Vincenzo Calli lives and works in his studio near Anghiari, a medieval hilltown dominating the upper Tiber Valley of Tuscany. He obtained his diploma from Sansepolcro's Institute of Art, and continued his artistic training at the Academy of Belle Arts in Florence. He held his first public exhibition at the age of 21. In 1984, he was introduced in America and to worldwide galleries through an invitation to exhibit at the World Exhibition in New Orleans, Louisiana. He received favorable recognition from the critics and won a prize from "Art 86," organized by the magazine "Mondatori for Art." As a result, he was invited to show his work at the important gallery of Il Parametro, and in Milan at Salomon e Augostoni Algranti Gallery. 1993: Gallery owner Michel Douberville, after having seen Calli's work and admired his technique, invited him to exhibit at the historic Gallery of Art Bernheim-Jeune in Paris where some of the greatest painters of the past have been featured, including Renoir, Cezanne, Van Gogh and Modigliani. Mr. Calli's exhibition catalogue had a foreword by the French critic Roger Bouillot and the writer Alberto Bevilacqua. 1997: The province of Florence sponsored a one-man-show with the title "messaggi anomali" (Anonymous Messages) at the Palazzo Pinucci, organised by the Galleria Vialarga. He also returned to the United States with a one-man-show at the Camino Real Gallery, Boca Raton, Florida. The catalogue was introduced by William Biety. 1999: Returning to Italy, Mr. Calli had an exhibition in the former home of Piero Della Francesca in Sansepolcro, with the title "From the Mind to the Heart," catalogue foreword by Augusta Monferini. Recently, the artist has exhibited in Italy, the United States, Canada and Great Britain. In 2000, his paintings were shown respectively in the Camino Real Gallery, Florida, and in London at Albemarble Gallery and Belgravia Gallery. 2001: Exhibition at Pallazzo Casali in Cortona, Tuscany, with the title "Mediterranean Emotions," catalogue by John T. Spike. 2004: Exibition at Palazzo Inghirami, Sansepolcro, Tuscany, with the catalog edited by Vittorio Sgarbi. 2005: Exhibition il Palagio di parte Guelfa, organised by the council of Florence. The exhibition was presented by the alderman Eugenio Giani, Firenze. Also in 2005, Mr. Calli was invited to Naples for an exhibit at the council villa Casina Pompeiana, with an opening by the Mayor Rosa Russo Iervolino. 2007: The artist was recognized in his hometown of Anghiari, Tuscany, with an exhibition at the historic Taglieschi Museum, entitled "Ab-Ovo Essenze Sospese." The exhibition was opened with an introduction of the artist and his work by the museum's curator, Paola Refice. 2008: Exhibition at Monumental complex Santa Caterina Final, Borgo Finale Ligure in Genova. 2009: Mr. Calli was invited to exhibit at the Art Gallery of Calgary in Calgary, Canada with the cooperation of the Italian Chamber of Commerce in Canada. The exhibit was titled "Sospesi tra cielo e terra" (Suspended between heaven and earth). In the same year, the "Loch Gallery" of Toronto, Canada, sponsored a one-man-show at the "Toronto International Art Fair". 2010: An exhibition was held at the Honour Hall of the Province of Arezzo, Tuscany. The exhibit was entitled "Percorsi interiori" (Inner Introspection), and was presented by Liletta Fornasari. Mr. Calli also had a 2010 exhibit at the Yacht Club in Porto Rotondo, Oristano, Sardegna. 2011: "Meaning Transcends Image" - Dante Alighieri's House/Museum - Fine Art Society-Florence. Exhibition at Montalcino Castello, Siena. 2012: An exhibition with the title of "Forme e profumii toscani" (Form and scents of Tuscany) was held at Galleria Villicana D'Annibale in Arezzo, and he participated in a group showing at the Nuart Gallery in Santa Fe, New Mexico, USA. Mr. Calli's paintings are in personal collections throughout the world, and in the permanent gallery collections of the Albemarble Gallery, London, the Fornera Gallery, Marbella, Spain, and Nuart Gallery, Santa Fe, New Mexico.

Vicenzo Calli, 1953
Il pittore, dopo essersi diplomato all'Istituto d' Arte di Sansepolcro, frequenta l' Accademia delle belle arti di Firenze. A soli 21 anni tiene la sua prima mostra. Nel 1984 inizia l' avventura “ americana”, è invitato infatti ad esporre nella World-Exposition -New Orleans in Louisiana. Ottiene i giusti riconoscimenti della critica nel 1986 con il premio "Arte 86" della rivista Mondatori per la pittura ed è invitato ad esporre da importanti gallerie,: Roma Galleria “ Il Parametro” Milano Galleria " Salomon e Augostoni Algranti". E' nel 1993 che il gallerista Michel Douberville, dopo aver visto una sua tecnica mista invita l' artista con una personale presso la storica Galleria d'Arte Bemheim-Jeune di Parigi dove esposero i grandi della pittura, Renoir, Cézarme, Van Gogh e ModigIiani , il catalogo fu presentato dal critico francese Roger Bouillot e dallo scrittore Alberto Bevilacqua. La provincia di Firenze gli dedica nel 1997 una personale dal titolo" Messaggi anomali" a Palazzo Pinucci organizzata dalla Galleria Vialarga. Nello stesso anno riprende la via degli Stati Uniti invitato dalla " Camino Real Gallery" per una personale in Boca Raton Florida il catalogo è firmato da Wi1Iiam Biety. NeI 1999 torna ai luoghi d'origine esponendo nella casa di Piero Della Francesca in Sansepolcro con una personale dal titolo “Dalla mente al cuore", catalogo presentato da Augusta Monferini. Le mostre più recenti, nel anno 2000, vedono l' artista esporre negli Stati Uniti e in Gran Bretagna, dove le sue opere sono state ospitate rispettivamente nella Camino Real Gallery Florida, a Londra alla Albemarle Gallery e alla Belgravia Gallery. Nel 2001 espone a Palazzo Casali di Cortona dal titolo"Emozioni mediterranee" presenta il catalogo John T .Spike. nel’anno 2002 viene invitato in Sicilia in due importatati mostre. Nel 2004 espone a Palazzo Inghirami a Sansepolcro Arezzo, presenta il catalogo Vittorio Sgarbi. NeI 2005 espone presso il Palagio di Parte Guelfa, organizzata dal comune di Firenze, presenta la mostra l'assessore Eugenio Giani .Nel 2005 è invitato a Napoli nella Villa Comunale "Casina Pompeiana" inaugura la mostra il sindaco Rosa Russo Iervolino .Il 2007 è l'anno in cui l'artista ritorna ad esporre nella sua città di Anghiari, dove la sopraintendenza delle belle Arti di Arezzo gli organizza nel museo statale Taglieschi la personale dal titolo “Ab Ovo Essense sospese".Nel 2008 espone presso il Complesso monumentale S. Caterina in Finalborgo Finale Ligure Genova dal titolo “Forme e Profumi Mediterranei”.Nel 2009 è invitato a Calgary (Canada) con il contributo della Camera di Commercio in Canada nella “ Arte Gallery of Calgary” con l’esposizioni dal titolo “ sospesi tra cielo e terra” sempre nel 2009 la galleria Loch Gallery organizza nella prestigiosa sede della città di Toronto un'altra mostra personale, con la stessa galleria è alla Toronto International fair. Nel 2010 è in mostra nell’atrio d’onore della provincia di Arezzo. Nel 2011 E’ in mostra alla Casa Museo Dante Alighieri” Società di Belle Arti di Firenze”, nello stesso anno è in esposizione al Castello di Montalcino Siena. Nel 2012 espone con il titolo “Forme e profumi toscani” alla galleria Villicana d’Annibale di Arezzo, sempre nel 2012 è invitato per una personale alla Nuart Gallery Santa Fe New Messico USA. Le opere del pittore sono in permanenza nelle gallerie: Albemarle Gallery Londra Gran Bretagna, Fornara Gallery Marbella Spagna, Nuart Gallery Santa Fe New Messico USA. Il pittore Vincenzo Calli vive e lavora nel suo studio in Anghiari antica città mediovale che domina l’alta Valle del Tevere. Hanno scritto su Vincenzo Calli: Eugenio Montale, Dario Micacchi, Sergio Guarino, Tommaso Paloscia, Dino Villani, Alberto Bevilacqua, Giovanni Faccenda, Roger Bouillot, Paolo Levi, William Biety, Augusta Monferini, Roger Hurlburt, John T. Spike, Vittorio Sgarbi, Paola Refice, Liletta Fornasari.

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Susannah Israel

September 19, 2013, 4:39 am

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Susannah Israel

My work has its source in the fluid nature of experience and the transience of personal history and memory. These gathered images come together like the many variations found in stories of shared experiences. A particular resonance comes from the voices of the beloved dead, who shared these memories and experiences. Hence, though the work is largely elegiac, it also celebrates and honors the living community."

Master of Fine Arts in Ceramics, 2000
San Francisco State University, San Francisco, California

MFA Thesis Exhibition

Baccalaureate, cum laude, Art & Chemistry. 1987
San Francisco State University, San Francisco, CA

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Warner Friedman

September 19, 2013, 5:13 am

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Warner Friedman

http://www.rehs.com/Warner_Friedman_Bio.html
Born in Brooklyn in 1935, Warner Friedman came of age as an artist during the 1950s and early 1960s, an era in which American painting redefined itself as an international cultural leader. Growing up in the Bronx, Friedman's talent for drawing was recognized with an award when he was just thirteen years old; the prize was additional drawing lessons. In high school, he was introduced to drafting classes, and subsequently enrolled in the engineering program at Clarkson University in Potsdam, New York. After earning his Bachelor of Science degree in engineering in 1957, Friedman accepted a position in the technical engineering department at the Curtiss-Wright Corporation in New Jersey. His stay there was short-lived, however, as the company's government contracts gradually diminished after World War II, resulting in the plant's closure.

Even while working as an engineer, Friedman continued to pursue his interest in the visual arts, registering for evening drawing courses at Pratt Institute taught by the respected illustrator Eugene Karlin (1918-2003). In September 1957, he was accepted into Cooper Union with a full scholarship, enabling him to study art full time for the next four years. To be close to school--and to the art scene of the time--Friedman moved to the lower East Side of Manhattan and also found a studio in the Bowery. Like many young painters at the time, he was fascinated with the work of the abstract expressionists who were living and working in the same neighborhood; and his paintings from those years reflect the influence of Willem de Kooning and Franz Kline. The Tenth Street coop galleries associated with this bohemian environment also provided Friedman with occasional opportunities to exhibit his work, and importantly, introduced him to the challenges of making a living as an artist.

By 1962, Friedman had not only graduated from Cooper Union, but also married. To support his family, he worked in the conservation department at the Museum of Modern Art, courtesy of his friend, Thornton Rockwell, today a noted conservator. Friedman also continued to exhibit his paintings, which he describes as "concrete abstractionist", at the Tenth Street galleries. As he emerged from the abstract expressionism of his early work, Friedman began to develop his own aesthetic voice. His clean-edged geometric forms from the mid-1960s and 1970s reveal the artist's admiration of Piet Mondrian (1872-1944 ), as well as the contemporary concerns that Friedman shared with colleagues like Sol LeWitt and Donald Judd. The artist’s preference for crisp lines and precise geometry remain evident in his more recent work, in which architectural forms, art historical references and shaped canvases combine to create a distinctive expressive imagery. The 1960s also included two significant exhibitions for Friedman: Small Recent Paintings at the Fischbach Gallery in New York in 1965, and Labyrinth Paintings at the Wadsworth-Atheneum Museum in Hartford, Connecticut in 1969.

The decade of the 1970s opened with a move to the Berkshires and new employment at the Wadsworth-Atheneum Museum, working again in conservation with Thornton Rockwell. Life outside of New York City brought many changes, including a growing family and an environment with more natural components. His paintings became larger and larger, always focused on basic geometric forms at 90-degree angles and completely flat surfaces. Illusions of reality were banned. During this decade, Friedman gradually began to exhibit his work at colleges and universities as well as participating in the Black, White and Grey exhibition at the Wadsworth-Atheneum.

At the end of the 1970s, Friedman began using multiple colors in his painting, causing “horizon lines to creep into the painting" at the junction of the different colors. By 1981, light and shadow had crept in as well, and Friedman's pure geometry evolved into investigations of light, shadow and color. In 1988, in his Homage to Sol LeWitt, Friedman explored a strikingly new concept by creating fourteen, two-dimensional shaped canvases that referenced LeWitt’s three-dimensional series called Open Cubes. Friedman’s series was an immediate success, selling out quickly and attracting attention from an even larger audience of viewers. It was also during these years that he attracted attention from several corporations, thereby breaking into a new market for his large-scale works.

Friedman's new direction in his professional life was echoed in his personal life in 1989 when he met his present wife, Janet Rickus, a still-life artist. By then, his work was receiving increasing attention in New York at the Schillay & Rehs gallery exhibition in 1991, and at museums such as the Museum of Art in Ft. Lauderdale, Florida in 1993. In both cases, the works shown were large scale, imposing pieces featuring strong architectural elements combined with art historical references and sharply defined sunlight. Many of the paintings were as large as 8.5’ x 13’.

Increasingly, Friedman utilizes both models and photographs as the foundation for his paintings. He comments that the use of photographs is particularly useful because it captures the quality of light at a specific time of day, which allows him to maintain the integrity of the canvas as he envisions it. The large scale of the work, combined with architectural elements such as doors, fences or bridges, gives viewers the sense that they are experiencing a glimpse of a world just beyond them--and invites them to consider what a direct encounter with that world might be. For example, in the painting A Bend in the River, 2003, Friedman juxtaposes a view of the natural world through a window with an interior space containing a sunlit Mondrian painting; considerations about the relationship between inside and outside, between nature and art are inherent in this image, encouraging the viewer to study and reflect on the questions it might pose.

Janet Whitmore, Ph.D.

quote

Awards
2012 - Massachusetts Cultural Council, Painting Award
2006 - Pollock-Krasner Foundation Grant
1996 - Pollock-Krasner Foundation Grant
1993 - Richard Florsheim Art Fund Grant
1990 - Massachusetts Artist Fellowship

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Vesna Bursich

September 19, 2013, 5:37 am

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Vesna Bursich

Vesna Bursich was born in Turin in 1974.

From a very young age, she consistently devoted a large portion of her time to drawing and painting, creating an intimate and almost secret relationship with her works and trying to seek in shapes and colours the expressiveness that words failed to match. Her interest and her need to observe grew stronger toward any kind of visual art, from15th-century classical painting to contemporary art.
After completing her Restoration Studies, in 1998 she graduated in Painting at the Accademia Albertina in Turin. Attracted by different descriptive forms, she can skillfully face oil painting on canvas as well as digital processing or other experimental forms making her work a multifaceted experience.
Her research is directed towards the representation of those emotional states affecting also her life course.
Although her works are not always immediately understandable, they will make your eyes lingering to observe, moving a memory deep in your heart, a memory that could be a question or an answer, a suggestion or a blame. A meeting or a confrontation, direct, fearless and honest.

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Vesna Bursich nasce a Torino nel 1974.

Fin da giovanissima disegno e pittura catalizzano la sua attenzione e la legano in un rapporto intimo quasi segreto con le sue produzioni, intenta a cercare nelle forme e nei colori quanto le parole non riescono a dire.
Il suo interesse e la sua necessità di osservare si svilupperà sempre più forte verso tutte le forme d’arte visiva, dalla pittura classica del Quattrocento fino all’Arte Contemporanea.
Conseguiti gli studi nel campo del restauro, nel 1998 si diploma in pittura all’Accademia Albertina di Belle Arti di Torino.
Il suo lavoro è poliedrico, attratta da diverse forme descrittive, in modo capace affronta il dipinto ad olio su tela così come l’elaborazione digitale o altre forme sperimentali.
La sua ricerca è indirizzata verso la rappresentazione di stati emotivi che caratterizzano anche il suo percorso di vita.
Le sue opere non si esauriscono mai in letture immediate, ma gli occhi si attardano a osservare e trasferiscono nell’animo un ricordo che sarà una domanda o una risposta, un suggerimento o una denuncia. Un incontro o uno scontro, aperto, coraggioso e schietto.

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Tomasa Martín

September 19, 2013, 6:10 am

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Tomasa Martín

Spain, 1955

Exhibitions from 1990 in Europe, USA and Asia. Work of intimist character and minimalist construction. Inspired by details daily and motivated by the events around the world.

Education

Fine Arts Licensed by Masana School (Barcelona),

2010
Seleccionada en el Premio de Pintura. Fundació Vila Casas
Seleccionada en el premio de Pintura. Fundació de les Arts i els Artistes
2008
Primer premio en el Premio Nacional de pintura J.R. MASOLIVER. Barcelona
2000
Primera mención en el Premio nacional de pintura J.R. MASOLIVER. Barcelona
Finalista en el Premio DONART “Desde mi estudio”. Barcelona
1998
Finalista en el Premio DONART “El Bodegón “ Barcelona
1er premio en el Premio VALENTI de pintura. Vilanova (Barcelona)
Primera mención en el Premio nacional de pintura J.R. MASOLIVER. Barcelona
1997
Finalista Premio VALENTI de pintura “ La Danza “ Vilanova (Barcelona)
Seleccionada Premio internacional de pintura Puerto Banús (Málaga)
1996
Premio especial Arts et Couleurs. Saint Charmond (Francia)
Finalista en el Premio DONART “ Homenaje a Cocó Chanel “ Barcelona
Finalista en el Premio VALENTI de pintura. Vilanova (Barcelona)
1985
Seleccionada en la I Bienal del FC Barcelona
Medalla de oro XX salón internacional Des Beaux Arts. Buixeres. Les Mines (Francia)

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Rudy Baeten

September 19, 2013, 10:45 am

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Rudy Baeten

I have no information about the artist , sorry !

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Pauline Hughes

September 19, 2013, 3:56 pm

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Pauline Hughes

I trained at Brighton Polytechnic and obtained my degree in Ceramics in 1988. In 1991 I returned to my home town Liverpool and set up my Studio where I still work today. I make Figurative Sculpture and exhibit my pieces at a handful of select U.K. galleries. I also exhibit regularly in the U.S.A. and this was initiated through Arts Council Funding.

In January of 2009 I was selected to join The Royal British Society of Sculptors. Along with developing my own personal work I have worked in the ceramics industry creating Large Scale Architectural Murals and in 1998 obtained my Teaching Qualification. I am passionate about my work as an Artist and the Ceramic medium and I am always willing to share this through Talks, Demonstrations and Freelance work.

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Yen-Yu Lu

September 20, 2013, 2:33 am

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Anthropomorphic cats

Yen-Yu Lu

A Dusty Land in an Imaginary World
The process of making art sometimes feels like exploring the memory in search of those emotions or perceptions which have been deposited, marginalized, and even forgotten. They have transformed into countless images, unrecognized and fragmentized, as if they are buried in the mud with the passing of time.
Our living condition is getting more and more complicated. The ordinary and the uniqueness of each individual are gradually melted within the invisible regulations. Beneath the apparent homogeneity, however, there are various heterogeneous individuals which keep transforming and merging. Through the self-contemplation and the collected images which can be crystal-clear occasionally, the artist destructs and reconstructs her perceptions of the people and the things in the surroundings into a land of wonder where reality and imagination co-exist.

quote

Education

國立台南藝術大學
國立台南藝術大學
Class 2011
台南藝術大學TaiNan National University of the Arts
台南藝術大學TaiNan National University of the Arts
Ceramics (art)
台南藝術大學TaiNan National University of the Arts
台南藝術大學TaiNan National University of the Arts
台南藝術大學
台南藝術大學
Class 2011
台灣藝術大學NTUA
台灣藝術大學NTUA
Turma de 2007 · Escultura
National Taiwan University of Arts
National Taiwan University of Arts
Class 2007 · Panchiao
Universidade da Carolina do Sul
Universidade da Carolina do Sul
Colúmbia

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Sunkoo Yuh

September 20, 2013, 3:13 am

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Sunkoo Yuh

EDUCATION
1997 M.F.A. New York State College of Ceramics at Alfred, NY.
1988 B.F.A. Hong Ik University, Seoul, Korea.

TEACHING AND APPOINTMENT
2009-05 Associate Professor, University of Georgia, Athens GA
2009 Summer Faculty, Haystack Mountain School of Crafts Deer Isle ME
2008 Summer Faculty at UGA Abroad Program Cortona Italy
2006 Summer Faculty, Penland School of Crafts, Penland NC
2005-04 Associate Professor, Western Illinois University, Macomb IL
2004-00 Assistant Professor, Western Illinois University, Macomb IL
2004 Visiting Faculty, the Korea University of Art, Seoul, Korea
2002 Summer Faculty, Haystack Mountain School of Crafts, Deer Isle ME
2000 Summer School Faculty, New York State University at Alfred NY
2000-97 Lecturer, California State University Long Beach CA
1997-95 Graduate Teaching Associate, Alfred University Alfred NY

AWARDS AND PRIZES
2008 University of Georgia Faculty Research Fellowship.
2007 M.G. Michael Research Award.
2005 The Joan Mitchell Foundation Grant.
University of Georgia Faculty Research Grant.
2004 Illinois Arts Council Artists Fellowship Award.
2002 Grand Prize: The 2nd World Ceramic Biennale International Competition,
Icheon, Korea.
The Elizabeth R. Raphael Founder’s Prize.
Third place: The Virginia A. Groot Foundation.
2001 Bronze Award: World Ceramic Exposition Korea International
Competition, Icheon, Korea.
Grant “Onggi American Tour,” Korea Foundation, Seoul Korea.
2000 Western Illinois University Research Grant, Macomb, IL.
1995 Korean Alumni Award: Alfred University, Alfred, NY.
1995 Excellence Prize: Seoul Contemporary Ceramic Competition, Seoul, Korea

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Linda Pochesci

September 20, 2013, 4:42 am

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Linda Pochesci

I am attracted to the dynamics of architectural spaces. Light and the shadows that it casts speaks to me about the poetics of space.

My paintings are composites of different houses and spaces I have lived in. I feel most at home on Cape Cod. I have a small summer cottage on the outer cape. This cottage, with its small studio outbuilding, is in many of my paintings. It appears in the background of my earlier works and it is the subject itself for my new paintings.

EDUCATION:

MFA in Painting Massachusetts College of Art, Boston, MA
BA in Art Montclair State College, Montclair, NJ

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SERGIO BUSTAMANTE

September 20, 2013, 2:50 pm

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SERGIO BUSTAMANTE

Native from Culiacan Sinaloa, Mexico, in a very early age, Sergio lives in Guadalajara, Jalisco, he m architecture studies in the “University of Guadalajara”. Attracted by the plastic arts and the art crafts, in 1966 he focused in painting and “Mache” paper sculpture, having in the same year his first art exposition in Misrachi gallery from Mexico city.

During 1972 and 1973, he established in Amsterdam, Holland, giving him the work of painting and design. In his return in 1975, with some others artists, he founded the group “Estudios, Taller, Familia” in Tlaquepaque Jalisco. He realized art expositions in Ambriz Gallery, of Valle de Bravo, in the Gallery pro-arte of Mexico City, so like expositions in Chicago and New York of painting and sculpture.

1979 he worked wood and bronze sculptures presenting expositions in Houston, Sacramento, Hartford and Seattle in the USA. In 1979 he put up a furniture-sculpture line, in wood and silver. In 1980, with the topic “some man and his works”, he presents an exhibition in Montreal, Canada and founded the gallery Sergio Bustamante in Tlaquepaque Jalisco and he opened an exposition in the “design and art center” in Monterrey Nuevo Leon.

SERGIO BUSTAMANTE

One of the memories that lived on my childhood was the sensation to be able to fly. At the age of eleven years in the hot weather of Sinaloa and surrounded by an accumulation of fantasies, I felt that I flew transformed into a personage of my readings, obsessed by heroes and of swordfighters. Without even then imagined that, those where already splits of the creative exercise that I would dedicate my life to.

Nowadays, that I sit in my desk, they are born in paper and pencil, objects and personages that have brought between the heart and the eyes for many years (no matter how people say you always save this memories in your unconscious) memories inked of a distant past, to which I love and I sing. Painted of blurry sadnesses or memories of a recent past as sublime as receiving a kiss infront of the sea. Can you call Inspiration to bring dreams from the past? ... Painting, drawing, or designing will be perhaps the incredibly private forms of being yourself and without a minimum of modesty to show the pearls that you have kept in deep inside of you?.. Can we call it Your Garden of the delights? ... Or it will be the inspiration a measureless solitude with the one that we are born? ...

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Candace Walters

September 20, 2013, 3:43 pm

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Candace Walters

Candace Walters has been showing at Clark Gallery since 1986 with her exquisite drawings and collages. Her portraits and minimal drawings depict figures and objects. The pieces are intimate and are as much about mark making as they are about the image. She elevates her unassuming subjects to icons, celebrating the humble. She received her MFA at Boston University School for the Arts, and her BFA at Hartford Art School at the University of Hartford, Hartford, CT. Her work has been featured in group exhibitions at the Museum of Fine Arts, Boston, DeCordova Museum, and Danforth Museum, among others. She is a recipient of a Massachusetts Cultural Council Fellowship and has twice received the Blanche E. Colman Award.

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September 20, 2013, 4:10 pm

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Roman Khalilov

September 24, 2013, 1:53 am

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Roman Khalilov

Artist from Ukraine

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Ida Budetta

September 24, 2013, 2:58 am

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Ida Budetta

"Sono andato a trovare Ida Budetta nel suo studio milanese e aggirandomi tra i quadri (dai titoli emblematici come: <<Forse era un angelo>>, <<Ermafrodito blu>>, <<Sonata per un inganno barocco>>, <<Amazzone metropolitana>>, <<Nostra signora dell’ambiguo latente>>, <<Tramite mistico>>, <<Annunciato con nodo>>, <<Annunciante dei semi dell’ambiguo latente>>, <<Stranianti androginie>>) le chiedevo di parlami di lei.

È difficile, però, colloquiare con questa pittrice introversa, chiederle delle sue esperienze: detesta confidarsi, preferisce vivere nel silenzio; sente la difficoltà di un dialogo, di una vera comunicazione, se non attraverso l’arte, perché l’umano l’ha nauseata. È impossibile adattarsi alla sua “normalità”, a quella sua estrema economia di parola e di gesto: è una donna minuta, ma forte, dallo sguardo timido, eppure chiaro e intenso; piena d’immaginazione, di quel piacere che basta a se stesso, che non cerca riconoscimenti e investiture, secondo una visione del mondo e degli accadimenti che è dell’antica saggezza. Per assumere un termine musicale, la sua vicenda umana e intellettuale somiglia a un “moderato” che in un indicibile senso di gioia, d’estasi, di passione pittorica, si fa agitato di motivi dominanti, groviglio tormentato, inquieto e pessimistico del proprio vissuto. La sua opera allora diviene metafora della vita con le sue promesse disattese, nodi metafisici come dilemmi da sciogliere. Le sue creature, presenze androgine, sono contornate da simboli, che come baccelli devono essere aperti per scoprirne i significati reconditi: così le mani non sono che scudi ingentiliti per difendersi da qualcosa che non si sa che cos’è; perfino le ali di un angelo si formano a corazza; i copricapo diventano elmi; un fiore ingigantito può trasformarsi addirittura in riparo di esseri senza porte né finestre, come monadi leibniziane.

Ida Budetta possiede una pittura che adotta colori trasparenti, sfumati, e che raggiunge la perfezione tecnica con la linearità del disegno e un rigore stilistico, nella continua conquista della plasticità.
Quest’artista che dal 1984 vive e opera a Milano – è nata a Montecorvino (SA) nel 1945 – pare legata a una concezione geometrica dalle forme raffinate, quasi fosse influenzata da una filosofia zen che analizza il senso del bello, in una controllata e delicata sobrietà. Ella dispone le figure quasi fossero all’interno di un rito: anime contemplative in uno stato d’illuminazione. La sua ricerca espressiva, dunque, sembra spinta dall’inconscio, originata da un’intensa esplorazione dell’animo umano, con le sue pulsioni e i suoi stimoli.
In questi spazi aperti alla fantasia, sottolineati in modo particolare da una visuale femminile, colma di sentimenti limpidi e costruttivi, l’autrice ci presenta, in uno stile personale, volti di figure finemente stilizzate, attorniate di segni di raffinata grafia od oggetti di un ambiente limbo-mitologico che, disseminati nelle composizioni, paiono trasformarsi in ritmici arabeschi. <<Si riattivano così figure stilizzate e inconsumabili poi metafisiche, nel cui silenzio si riscopre una serie d’intensi equilibri grafici, senza peso realistico, né dissolvenze per il gioco etereo di una qualche speranza trascendentale>>, scriveva Domenico Cara nel catalogo della mostra che la Budetta ha tenuto qualche anno fa alla <<Ciovasso>> di Milano (una precedente mostra, allestita sempre nella galleria di Giovanni Billari nel 1999, era stata presentata, con una critica dal titolo <<Il volo della crisalide>> da Gianni Pre, direttore di ControCorrente rivista che alla pittrice ha dedicato un numero della rivista).
La Budetta, che si è impegnata anche in altri settori artistici quali la ceramica, il design, la scultura, predilige, fin dagli anni Settanta, la pittura e ha esposto in diverse mostre personali e collettive in città importanti italiane e straniere.
I punti d’incontro riflessivi di questa pittura sono molteplici, e spesso accomunati da un’atmosfera enigmatica: vi si alternano un precisionismo geometrico dell’oggettività; la magia plastica della luce; l’iconografia vagamente <<orientale>> o <<rinascimentale>> diffusa nei costumi, nei ritratti, nelle posture; uno stupore neoprimitivo intriso d’intimismo e di silenzio; il filtraggio lirico del colore.
Totalmente le cromie della Budetta si armonizzano su colori tenui, tendenti al bruno, dove una luce diffusa sembra aprire spiragli di cielo. I volumi dei corpi morbidi e vellutati, poi, danno il senso di un modellato a rilievo, per quell’immersione irreale, metafisica, in una dimensione evocativa e lirica che ricordano il mistero e il sogno.
Le donne pallide di Ida Budetta, eteroverginali ed etero-angeliche, nella loro bellezza statica si fanno mistero angoscioso dell’esistenza stessa e se gli uomini paiono esclusi da questa raggelante femminilità, essi hanno una presenza misteriosa e ieratica in certi volti-maschera o negli ambigui <<pomi d’Adamo>>: così l’autrice, rimasta ostinatamente fedele alla medesima ispirazione mentale, sembra ritrovarsi nei versi di Edgar Allan Poe: <<Tutto quel che vediamo, quel che sembriamo/ non è che un sogno dentro a un sogno>>.
Accanto alla pittura la Budetta rivolge una grande attenzione al disegno e questo perché esso le consente quella spontaneità e quella immediatezza espressiva che meglio rispecchiano l’idea al suo primo apparire e ciò sia nel caso si tratti di studio preparatorio, sia che venga concepito come opera fine a se stessa, espressione autosufficiente di un momento del proprio pensiero estetico.
Di Ida Budetta non so nulla: mi trovo privo di appigli biografici, se non dei suoi quadri; le chiedo qualche informazione, qualche notizia della sua vita e lei mi risponde che ciò che conta sono i suoi lavori che, in effetti, paiono come le tessere di un mosaico e producono un esito diverso a seconda che siano osservati isolatamente o immersi nel contesto creato dalle loro vicinanze e dalle loro somiglianze-diversità.
Attraverso la pittura, la Budetta si pone in mistica contemplazione della realtà. Ella purifica le sue immagini da ogni segno di caos, per tendere a un’armonia cosmica, simbolo di un equilibrio di salvezza. Le sue figure androgine, coesistenti di tutti gli attributi e dei suoi contrari, assurgono (per usare una mia espressione) quasi a divinità “quotìdome” (quotidiane e domestiche) autosufficienti, derivanti da un’unica fonte di vita, confuse in un unico uovo del caos primordiale. Del resto le creature della Budetta hanno spesso la testa simile a un uovo, e la loro sinuosità sprigiona contemporaneamente principi terresti e celesti, luminosi e oscuri, dove l’Adamo si fa apparentemente duplice, prima della creazione di Eva.
<<La facoltà recitativa di tali idoli – scrive Domenico Cara – non hanno bosco o singolare destino e la loro lotta si compie nel grembo degli stessi scrupoli compositivi, che la pittrice costruisce come ritratti di qualcuno che è stato scoperto nel deserto dell’essere, senza storia esplicita o traccia sospesa di qualcuno che è>>.
Le opere di Ida Budetta, qualche anno fa, sono state approfonditamente esaminate da Giuseppe Ferrigno, sulla rivista <<Quadri e sculture>>, il quale scrive tra l’altro: <<Le donne che vivono nei suoi quadri sembra che possano entrare e uscire a loro piacimento dall’universo maschile o femminile a seconda della circostanza, esprimendo, così, la tensione dinamica a divenire finalmente “persone” complete attraverso una crescita maturativa, che privilegia l’ambiguità ermafroditica come sicuro rifugio dal pericolo di scivolare nel ruolo di sottomessa Penelope, vittima sacrificale accogliente come un uovo, come una madre, come una sposa obbediente al sultano>>.
Le tele di questa pittrice dalle grandi qualità tecniche racchiudono, infatti, profondi contenuti che vanno dalla difficoltà del vivere quotidiano, all’incomunicabilità, al misterioso fascino magnetico dei sogni, ai quali l’artista ricorre non per illustrare la vita, ma, come asserisce Ferrigno, <<per continuare a viverla nel pieno coinvolgimento di tutti i sensi attraverso una pittura, che non è semplice svago né rappresentazione, ma sicuramente “evento” drammatico>>.
Così la sua pittura nasce da un mondo apparentemente enigmatico, irreale, da silenzi creati nello spazio e trasferiti nelle regioni poetiche, dove l’intensità di sogno provoca inquietudine, ansia di abbeverarsi di ogni cosa. Un universo di simboli irradianti, indefiniti, silenziosi, dove tutto è concepito come un mistero al di là dei confini dell’umano: così l’arte si approssima allo stato di visione onirica che l’autrice trae dalla profondità del proprio essere, tant’è che i suoi quadri, ricchi d’allusioni e di riferimenti, incontrano il consenso non solo della critica, ma anche del pubblico, che vede in essi i propri miraggi irrealizzabili."

Giuseppe Possa

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