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Breach born 5AM 1961. Was this a sign of things to come? I think
not. It's just God's way of showing I'm going to be different. I slept
all day and stayed awake all night much to my mother's delight. By
the time I was 15 I learnt to fight and fight I have through alcoholism,
asthma, broken marriage and a disabled son who is my shining light,
for without him I have no heart. He came into the world to show me
love and to not self destruct.
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My artistic mission is transformation. Over the years my artwork evolved from merely figurative painting to abstract, the combination of the two, adding mixed media and implementing objects. In my earlier works, I have been drawn to the depiction of people from the individual to the couple or group, ceremonial dances, weddings and celebrations. In my art I have found a place to address issues and themes of cultural diversity.
Adding materials and objects to my paintings was triggered by my previous visual work on Yoruba Nigerian deities, including their actual attributes onto canvas. It lead me to further explore bringing reality into the fictional world rather than portraying reality through painting. I am testing the boundaries of material, surfaces and painting. My current work is mostly driven by the exploration and implementation of found objects collected from different cities of the USA, Nigeria, Germany, Italy and UK, transforming them into a new context. |
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I am, and always will be a student of art. This has helped me keep sight of my objective, which is to maintain a high level of dedication as an imaginative, original and contemporary artist. I feel am accomplishing this goal as a result of my lifelong interest in the arts in general, and the visual arts, in particular. This is continuously reinforced by my association with encouraging teachers and other talented painters and sculptors. In this way I surround myself with creative people, visit the galleries, and keep up with changes in my field just to know what’s going on. This enables me to keep evolving and absorb what I need to improve my own work.
Because art is very difficult to explainCif not impossibleC I prefer to let my creations do the talking. As the creator of the piece, I too am part of the art, and with each creation I expose a little bit of my inner nature to the observerCmy true selfCmy inner voice. My intention in producing works of art is simply to move you, that is to make you feel something special and provide a unique experience you would not have had otherwise.
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My painting has been mostly self-taught since I was overwhelmed by Dali's work at the age of 15. Now most of my pictures are first drawn by pencil and pen, and then treated with CG tools. |
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The ideas for my paintings begin from my sense for beauty. Subjects in the world around me that strike me as extraodinarily beautiful are the subjects that influence my work. Such subjects are freight trains, and urban walls and sidewalks which contain an abstract assortment of colors, shapes, numbers, letters, fonts, graffiti, rust and rot. With the use of cropping, stenciling, and trompe l'oeil technique these paintings become surreal abstractions of the subjects themselves.
My goal is to produce beatitul, realistic paintings of these subjects. Once the viewer recognizes a painting as a subject of beauty, he/she will recognize the subjects within the painting of everyday life. They are an attempt to abolish society's stereotypes of beauty, to abolish the blindness created by the politics of art and to generate artistic vision, which is attainable by everyone, but suppressed by society. Through my work, I hope to provoke questions such as, "if a wall can act as a canvas, why aren't cities covered with art? Or are they already covered in art? If so what are the possibilities for this art to be improved and helped to flourish?" |
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Consciousness never stops learning,never take a rest and never dies.
Consciousness is immortal. |
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I passionately invade the transcultural archives that have accumulated over the millennia. I have researched the mysterious geometry of the first maps made of Canadian countryside, the metaphysical hexagrams of the I Ching, the rich vein of electronic micro/macro photography, as well as decorative arts of ethic groups from around the world, including my own Ukrainian heritage albeit avoiding making work that excessively addresses personal identity issues. Paradoxically, my work insists that even the pure science of biology, astronomy, mathematics and geometry are culture-bound and evocation of memory and personal experience. Through the act of painting the particular choices that are made can be looked at as comparisons between intuitive logic, social codes and historical records. |
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A conversation between rigor and abandon underlies the dialogic, smoldering audacity of Danish artist Frank Olesen's abstract works. His skillful ability with composition and color conveys an austere command of the medium, combined with an effusive spontaneity. Born in Copenhagen, Olesen embraced painting only after the completion of his auspicious career as a matchrace sailor. Bold and sharp typography overlays a maelstrom of both deep and luminous hues, while elegant and blushing novas of form and color enchant the viewer. His use of text is sometimes narrative or philosophical, but most often enigmatic, interweaving mysterious messages or mandates with numbers and unexplained codes. Olesen strives to aesthetically seduce with his exuberant compositions. "The pictures can be read quickly, if one so desires, but they only reveal a fraction of their secrets," Olesen states. Yet, if one is willing to deeply engage the work, the pieces "emerge and grow and become something bigger than both creator and recipients."
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Without any intention of mastering painting, writing or music techniques, or even to excel in this areas, we see him constantly in search of the expression of his feeling, of his Being, and how faithfully he gives himself to this conviction. |
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For many years I lived near the wetlands of the "Waddenzee" in the Netherlands.
Nowadays I live near the Dutch North Sea coast. The landscape that I am surrounded by is
reflected in my work. The wetlands, sea and dunes of the coastal region of the Netherlands are
the inspiration of my work. I try to catch the several landscapes in my paintings by using
sand and acryl. I combine my work as a professional artist with a parttime job as child and
adolescent psychiatrist I invite you to take a journey through light, structure and colour. |
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I create Art from Science using Technology. My art is a reflection of my background and interest in art, materials science, computer technologies and nanotechnology and is called NANOART. I think people should know what’s going on in the micro/nano-worlds in order to not be afraid of all kinds of “nano-things” (nanotechnology, nanoscience, nanopowders…) that are happening right now with the new technological revolution. The idea behind my art is the interpretation of the technological movement. Art is becoming interdisciplinary. New media are used more and more. New technology is used extensive. We live in a technological society and there is no reason why Art should stay away from Technology. I bring the micro and nano-dimensional universes to the general public through high resolution electron microscope scans of nano-sculptures I create using chemical processing or scans of natural micro/nano-structures. The black and white electron images are transferred in a computer where I paint them digitally. Finally, I print the artworks on canvas or fine art paper with archival inks. In my art I try to find similarities with the world we live in, so people will become familiar with the new technologies in a more appealing way.
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He is 27 years old, and was born in Sao Paulo City (Brazil). He is an Arts graduate who worked with graffiti between 1995 and 2000. Since 1998, he has collaborated as an illustrator in many major Brazilian publications. He is a self-taught photographer, who started to become involved in both the theory and the practice of photography in 2001.
Currently, he works and challenges the way painting and photography is combined, from both the conceptual and formal point of view. This subtle, but provocative way, explores the limits of how art is represented and perceived.
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Jason Orr’s recently emerging works are translations of imagination symbolized by a series of paintings, installment pieces, and mixed media.
Mostly intrigued by children and their absolute and unconditional love of bursting colors, sudden movements, undefined subjects, and most importantly, their almost uncanny freedom, Orr formulates most of his subject matter from these concepts.
He has currently surrounded himself with antique children’s toys and remembrances of the past in order to form a foundation and a mindset that will allow his work’s true identity to unfold. He feels it is the culmination of the past and the infinite potential of these chosen subjects that define his work.
The future of Jason’s art is moving toward fine art, small sculptures, and a children’s book set that he hopes will spark the imagination of children. Orr currently works at his studio in York, PA and can be seen sporadically throughout the area.
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Why do I keep on painting? Since I started my career of production at the age of sixteen, only time goes by unscrupulously. I improved my skill obviously, from the time when I was just a school-girl. But I surely felt deeper emotion as if I were all of a tremble, as I touched the first shake with my paintbrush than I feel now. I've been exhausting the fresh feeling as time goes by, and the joy of painting has been paralyzed. These kinds of feelings may be inevitable for the person who was concerd in painting as a routine. Trying to be more skillfull and proficient in painting, we, painters, should forget the joy of painting and the storong emotion in production, and we've been making more of evoluation from others or the effect in a competition. I wonder if these tendencies are destiny for the painters. Now, I don't feel joy of painting, but suffering a lot. I'm always asking myself why I have to paint. That's the difficult question for me in these several years. I used to paint just to want to do so, only for my pleasure, to feel joyfull during my works, and to be in a greatly emotional feeling, standing in front of the work just had done.
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In every single one of my paintings my objective is to 'feel them breathing'. To let each one reveal their own vision or message. I am often astounded as their presence unfolds & I am met with who they are. I then realize that who 'they' are, defines me as well. My hope is that my paintings & sculptures relate to you, their audience & that they give you the message you need for your own heart and soul.
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Born in the southern California suburbs, James (Otis) Otey currently resides in Seattle, Washington, where he and Paula Livingston have built their studio.
Otis was drawn to art and music from as early as he can remember. He has studied at Orange Coast College, Southern Oregon University, The School of Visual Design, and the University of Washington. He has ventured into metal sculpture, photo serigraphy and paper mache sculpture.
Inspired by Aztec, Mayan and Egyptian bas-reliefs, and modern artists like Rothko, Diebenkorn, Theibaud, and Louise Nevelson, Otis has developed a unique medium of painted cast-paper. He is drawn to the sensuous nature of deep texture combined with the emotional possibilities of color.
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I don’t really have enough strength to fight against the enemy of life.
In my younger days, I always had mixed thoughts about my future life.
I said “I want to be a soldier, one who can defend the tricolor of our flag”.
But when I first learned how to draw on the four walls of our house,
I started dreaming of being an Artist…….
As an Artist my only weapon are my brushes and canvas.
My concept, my idea, the feelings and the drama are the forms that directly flow like blood into the vein of my viewers to open their hearts and minds.
My art is my only way to express my anger and pain.
The torture of the innocent victims and those who’s trying to work for a change.
Life cheapened by greed, power…war, War that never seem to end.
I heard people “Cry Out for Justice”.
A play of strong colors, texture and transformation of lights and shadow to blend the effect and cause from the savage world of brutality, Barbarism.
My ideas are more important than the execution and completion of my work. Sometimes contrejour means: Against the light.
Sometimes the forms are direct.
Sometimes operatic and sometimes surrealistic.
My paintings express a thousand words, "If a pen is mightier than a sword, my brushes are sharper than a bow and arrow".
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A true nature of my intimate instinct of expression.
My work has always been a very personal, visceral reaction to the people and places in my life. The subjects matter constantly changes, as do the colors, reflecting my state of mind at a giving moment. There was a time when I painted “pretty” landscapes, flowers, boys & girls enjoying a picnic on the beach with their dog, under huge multicolored umbrella. It was different time in my life then. Today my work in not “Pretty” but rather, I believe, more realistic. It is work that provokes one’s inner being-work that is highly controversial. My work is not meant to be “nice” or polite- you either love it or you don’t. I’m here to share, by means of my images, my views and experiences in our world, and to let go, holding nothing back-to let myself be naked emotionally. My purposes is not to decorate your home, but rather to lead you into parts of the world and inside the brain where hidden images exist- to lead you into confronting those often-disturbing images which you previously coped with simply denying their existence. |
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A window on the work and life of Owens - sculptor, painter, portrait artist, historian and writer. Based near Orlando, Florida. |
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The foundation of my art springs forth from the idea of repetition as it investigates the process of image consumption, history, and permanence in relation to mass production, ritual, and accompanying psychological states. My investigation into our consumption of image splits off into two independent yet complimentary impulses. In some of my pieces, repetition provides social commentary; in others, it conjures a feeling of ritual and a more personal space for a contemplative mood.
In some works I slice a flat image down to its constituent parts, like the levels of a topographic map. The flat image, existing now on multiple slides of glass, is abstracted and becomes sculpture, captured within and between the glass as it interacts with its medium and becomes a different image depending on the position of the viewer. This is the creation of dimension, mood and meaning for the viewer. In other works, I subject images to reproduction on that most ubiquitous yet disposable of modern conveniences, the Post-it. Social commentary enters into the experience as the images eventually curl and fall away like so many autumn leaves.
Whether commenting on the historical durability or transience of an image or sculpting with such fragile media as wire, glass slides or tree branches, my approach to my art and its sources has been and will always be contemporary in the extreme: my investigation into image coexists with aesthetic gestures that challenge, provoke and invite.
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Painter
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