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Departure from the Soviet Union in 1972 has given me the freedom to paint not in obligatory style of so called "Socialist Realism", but in any style I choose to. It has been a powerful "push" for search and creativity.
Through all my works you will find that my attitude toward color and light combines tradition of impressionism with various surrealistic situaitons.
Working on illustrations for Kafka's novels, I were looking for a symbolic image of a mystical town. I have found it in Gaud's "Sagrada Famili". Almost on each of my paintings you can see my "signature" flying phantasmogoric towers, which have become for me a living entity, procreating itself, connecting The Past with The Future.
Fascination with The Black Hole Theory of The Origin of The World is also relfected in many of my paints in the form of "Singularity", through which Time passes, connecting The Past with The Fuuture. In my works I am trying to blend seamlessly fantasy with sometimes well known, sometimes created architectural details.
My schooling was both - in architecture and paintings. My love for architecture can be seen through many of my work. I believe, there is peace and serentiy in my latest works, which is a kind of self-protection against the cruelty, violence and disturbance of today's life. In some of my latest works, I am looking with a "modern eye" at the earlier times, interpreting the vision of the artists who lived centuries ago.
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In the early '90s, with the introduction of digital software, I began combining my photography with elements of art and texture. Suddenly, photographs I had taken while traveling in faraway destinations had new potential. Decaying facades in Vietnam. Inca walls in Peru, medieval fortresses in Portugal, baroque cathedrals in Russia, gold Buddhas in Burma abandoned temple carvings in India all assumed a new role as they became infused layers of texture and depth in my art. Patiently I have been merging those old travel images with my conventional photography, dreating a medium which is somewhere between a photograph and a painting. The process is a laborious one and may take months, bit it gives me the most artistic satisfaction.
At the present time, I am concentrating on religious these, ethnic portraiture and sexual imagery. I have found that outputting my images onto textured media, such as handmade paper, canvas or silk gives my art an added depth and enhances its spiritual, mystical and provocative nature.
This is my life and my art.
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More than anything text and photo are the signs of civilisation. There is no beginning before the written word, speaking in terms of History. Technology later provided the typesetting and photography as means of emulating and exploring reality. Moreover, one must ad, signs of any form has indeed influenced reality; signs do not just “describe”. They influence and create too. Thus, we often confuse sign and reality, reality and interpretation. Since we know about this dilemma, we tend to conclude, that there is “No Truth”. Yet, and absurd, we still survive.
Different international artists has explored reality, sign and interpretation in various times and ways, from cubism and before to dada and pop. Christian Tangoe is such an artist. Educated as a journalist, he knows the seductive means of mass media including the Adobe Photoshop. Yet he performs almost exclusively acrylics on canvas. With no intention of making anything pop, some consider him a leading pop artist today. His subject is the core of the consciousness, “how we perceive the world”. Applying real, symbolic and gestalt elements on the canvas, he retells the myth of paradise lost. Of temptation, innocence and mankind between nature and technology.
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George Tanner is a graduate of the Winnipeg School of Art. He has worked for many years as a graphic designer and visual artist in Winnipeg. His paintings are included in a number of corporate and private collections. He is a council member of CARFAC Manitoba and of the Winnipeg Sketch Club.
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Japanese artist.
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Victoria Taylor-Gore works primarily in soft pastels. Pastels have proved to be
a very fluent medium for Victoria. The technique is subordinate to the content, so she
can get an idea and follow through with it. Victoria depicts simplified architectural
and landscape forms in a distorted perspective and seamlessly blends her buttery
pastels to create rich, smooth color transitions. Victoria Taylor-Gore currently
teaches as an Assistant Professor in the Visual Arts Department at Amarillo College in
Amarillo, Texas. Victoria earned a BFA from West Texas State University in 1983 and an
MFA from the University of California, Santa Barbara in 1985.
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I am of course indebted to all the artists who came before me,
for the wonderful ways they have transmuted color, line and shape.
Some of my very special art connections are Miro, Kandinsky, Matisse,
DeKooning, Hans Hoffman, Helen Frankenthaler, and Joan Mitchell.
In the early stages of a painting, I work very fast.
This helps give my art its sense of energy and spontaneity. I like
to trick my conscious mind by not letting it have too much control
over what happens. In some ways I’m creating a mess or a problem
that I then have to solve in order to make the painting work.
It’s the painting surface that I love - the lusciousness of
color in its thick and thin varieties, flat and opaque to keep the eye
on the surface, or transparent and airy to suggest deep space. My goal
is to stay as close to the edge as possible, to keep that sense of organic
happening, as if the painting had grown itself rather than having been
crafted by me. Yet it is the artist's eye that seeks to prevail, telling
the hand to add that last brush stroke which brings it all together.
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When I was a child, I dreamt of becoming a cartoonist, so I drew cartoon characters, which I clipped out and played with every day. At the same time, I learned calligraphy, and I was also attracted by momentary art that provides expression of words instantaneously written with a brush.
When I was 21 years old, fatal encounter with an artist brought me exposure to contemporary art. Through the experience, an idea of making an expression of art began to form in my mind. I tried to combine cartoon, animation, and calligraphy, all the artistic experiences and skills I had acquired, together to make an expression of hybrid art.
In 1996, I exhibited my art work in a gallery for the first time. That was my first attempt to integrate calligraphy with contemporary art. Over ten years have passed, and my basic concept of creating art works has not changed. I still follow after integration of momentariness, a real thrill of calligraphy, with eternalness in language and letters.
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Sandro Taliani was born in Rome in 1960. He got his diploma in Arts in 1978. He has been painting since he can remember and has been continuously practising his technique in order to acquire the skills he admires in ancient masters like Caravaggio and Vermeer.
Starting from 2001 he has participated some selected group exhibitions in Rome and in 2004 his painting "Who?" won the 3rd place award at the "III Painting Contest in the town of Fondi" and has been acquired by the Fondi Museum of Modern Art.
Taliani's favorite subject is Man and his psychological and physical environment. He is interested in the everlasting struggle of Man against his innate animal nature and his path to civilization but not in the strictly technological meaning of it.
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日常に潜む不可思議は我々の生活の紙一重に存在しています。 道具たちは潜在的に逸脱を望んでいるのです。
その望みを叶えるために私は世界をほんの少し愛撫するのです。
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Rafal Taras studiuje na Europejskiej Akademii Sztuk w Warszawie.
Malarstwo traktuje jako polaczenie pasji i wykonywanego zawodu. Nie
wyobraza sobie dzisiaj, ze móglby robic w zyciu cos innego. Zanim
jednak wybral artystyczna droge, poszukiwal. Najpierw byly studia na AGH w Krakowie, pózniej na
UMCS w Lublinie. I jedne i drugie przerwal. Potem przez kilka lat pracowal
zawodowo przy produkcjach filmowych i telewizyjnych, jako scenograf i fotosista. W tym czasie stawial pierwsze kroki w malarstwie. Stopniowo rozbudzal w sobie pasje odkrywania twórczej nadrzeczywistosci . W koncu postanowil zajac sie tylko i wylacznie praca artystyczna.
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Fresh vision and ideas |
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My art is an evolving media through which I capture the visual world and weave it through personal experiences and life dramas to produce images that go beyond anecdote or even contemplation.
My subject matter arises from my lifestyle, my dreams and my ideas. I seek expression of sensuality and a deeper knowledge of these issues in my art as an evidence of being intensely alive.
I use composition to tell the story, and populate the spaces I paint with a cast of contemporary characters that can both live specific moments caught in time or evoke erotic mystery upon layers of images.
At the moment I am working mostly with acrylic paints, often using my camera, computer and digital prints as sketching tools. I prefer bright, vibrant colors and loose paint application. However, my style is constantly evolving and I avoid getting fixed with only one approach or media.
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Born September 29, 1968, in Havana Cuba. Graduated from the JosAntonio Echeverr
Polytechnic Institute with a degree in Civil Engineering (1991) and from the San Alejandro
Academy of Fine Art with a Bachelor of Fine Arts (1995). As Don Quixote put it (and not
Cervantes, who was a crazy-one-armed-man who thought he had written the best novel ever,
with the only hand he had left): "There is nothing bad where there is music." Music is
the art of happiness, and the fact that Tejuca's art was going to welcome music and
musicians was just a matter of time. His paintings are happy as reflected in his
recurring series about the circus, surrealistic creatures and women of-dreams.
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The dutch photographer and musician Luc ten Klooster comes of an artistic family.
His grandfather was a painter, his father a sculptor. Luc ten Klooster himselves had
a career as a concertpianist, but the last few years photography became more and more
important. At this moment it forms his most important occupation with various kinds of orders.
In his free photographic work he occupies himselves with many subjects but often he is
inspired by history, old paintings etc. He believes that also the modern photographer can
learn a lot from the old famous painters.
In some way he is an "oldfashioned" photographer, although he is not afraid at all of the new digital techniques. He found a manner to convert digital manipulated pictures to analogue classic darkroom fiberprints. For most of his work he prefers black-and-white photography, for portrait, landscape as well as for architecture and the old classic composition-rules are still very important to him. He had many solo-exhibitions all over the country. His work is published and can be found in inland and foreign collections.
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Imagine that you are standing inside a transparent ball suspended fifty feet above the Grand Canyon floor. You are higher than some canyon walls and lower than others. You have paints and a brush, and you begin to paint what you see on the inside surface of the ball. You paint the north face, then the east, south, and west. Finally, you paint everything visible above and below you. You move your globe to safe ground and step out to observe your paintings.
Walking around the sphere, you see that you have captured the entire three dimensional landscape. In fact, you've discovered the structure of your visual experience.
Termes acknowledges strong influences by M.C. Escher and Buckminster Fuller and has received high critical acclaim from aficionados of both camps. Termespheres are part of many prestigious collections.
This completely unique, holistic way of seeing, painting, and thinking is the key to appreciate the work of Dick Termes. In the past 36 years, Termes has explored over 300 spherical surfaces.
"Termespheres" hang in space and, powered by electric motors, rotate on a central axis. In effect, they push the old medium of two dimensional painting to a new four dimensional limit. (Time and motion are the fourth dimension.)
Each sphere is a revolving three-dimensional space/time exploration of an entirely closed universe. The paintings are not collages or collections of diverse images, or as some say "six paintings in one", as much as they are complete holistic visions of highly structured environments. Full viewer participation is only possible if one mentally enters the structure and becomes immersed in it. One finds that the works from the "inside" are sometimes not what they seemed from the "outside".
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The desire to create has been in me for as long as I can remember. It is
absolutely essential. Life needs art, just as art needs life. I feel a great
joy when I am finished with a painting, for it is easier to express myself
in art than in person. My artwork is not about technicality, precise anatomy
or simply color.....my artowrk is about communication. Iwant viewers to FEEL
what I felt when I created the peice, or, if not what I am feeling, to be able
to relate the work to something in their lives.
I could never be a flat out realist. I have immense respect for those who are able to paint phtorealistically, but I think that art is a special gift. Art gives you the freedom to bend reality, to make dreams come true and to scream out your insides to the world. I do not hide things in my art. If it is an ugly emotion I am experiencing, I show it. In fact, I prefer to show those moments in life that are not what we usually present to eh world. For me art is about showing the secret side which everyone has, but never lets out. Whether I am painting a humorous subject or an anguished one, my goal is to reach that emotion within the viewer.
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Robertterrell.com features abstract art, landscapes, and functional art furniture by Robert Terrell. A shopping cart is provided. The website also contains an art knowledge base with practical information on lighting, hanging, photographing art, and more.
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Welcome, this site gives an overview of my oil-panings, water-colour
and pastels. People, animals and flowers continue inspire me.
The diversity in character, form and colour gives continuosly its own irradiatoon to a painting.
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Gerhardt is an Australian living on the northern beaches of Sydney. As a photographer he specializes in shooting the human figure and seeks to focus on the sensual aspects of his subjects rather than the erotic traits of the female form. Inspired by the beauty of the female form, Gerhardt blends the natural landscapes of the Australian bush and beach, achieving a vision of physical perfection through the interplay of sunlight, shadow, textures of sand, the rush of waves, mortar and stone. Combining the beauty of the female form with the natural environment is his trade mark.
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Painter Surrealistic Cubism
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I am an artist & illustrator working out of Nottingham, England. My work is highly varied and adaptable, covering many styles and mediums and as a result I have sold my artwork worldwide and taken part in several exhibitions.
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I’ve been face and body painting for many years; I was instantly seduced by the possibilities of the transformations and the colors.
I want to make the unseen other-self tangible. I cannot do what I do without the model providing the canvas; it is very much a collaborative process.
For me the process of creation process is timeless. Timeless as in nothing else seems to exist for me while I’m painting and shooting as well as timeless in that since prehistory, people have been painting one another.
I hope for people to have a reaction to my work, be unsure, feel a connection to something larger and feel the magic of the transformation.
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Why does the artist paint?
Is it not the artists main goal to express some thing, to convey some message or meaning to the viewer? Without the viewer there is no need for the painting. If there is no need for the painting, then there is no need for the artist. In an ideal situation, when this triangular convergence of art, artist and viewer occurs, the shared empathy between these three components produces the Art of Conspiration. |
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I chose to use a camera to capture the abstract of everyday life.
I believe in minimalism, I work mainly in black and white. I want the forms pure and strong.
My quest is the infinite.
My playgrounds are industrial zones and dust bowls.
Parallels, spirals, rectangles... open gates for imagination.
I’m doing abstract photography to connect imagination with reality.
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Some folk are born to sing or dance, me?.....well I was born to paint. Its what I do best, its the only thing I consider myself much good at.
I started painting and drawing at a very early age, when I was 4yrs old it was obvious I was almost obsessive on the subject. I've never studied art or attended any formal education on the subject. I just do my own thing, I listen to music whilst painting at night. I work in an office by day.
I can't explain what I paint, it just happens. On some occasions especially my ink sketches I sit back and watch my hand draw stuff as if on autopilot. Its a rapid process.
My works from the 1980's are watercolor on paper, from 1996 onward Acrylic on paper / canvas.
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I would like to introduce my self as an abstract painter. However, as an artist my background is in realistic painting. I received my under graduate degree in Drawing and Painting at the University of Dhaka, Bangladesh. I worked realistically in pencil, pen and ink, watercolor, and oil color. In my post-graduate program for MFA at the same school I started to break forms and tried to come out from realistic images. After schooling from Bangladesh, I came to New York and went to a famous art school, namely Art Student League of New York. There I was inspired to work in the abstract expressionist style.
It is known that after Second World War, New York replaced Paris as the center of the art World and the Art Student League made a significant contribution towards building Abstract Expressionism. During my under graduate work at Bangladesh I mainly worked having the Indian flavor. But when I was completing my masters at Lehman College, CUNY I started working on Abstract Expressionism. I practiced this trend of my won for my masters. After coming to New York I was moved after seeing the works of Jackson Pollock. His works inspired me a lot to choose my style. Actually I like Jackson Pollock’s freeness of work, William de Kooning’s line and Hans Hoffman’s color.
In my painting I want to put my emotion. I try to translate my dreams, my feelings of love, inner torments, hungers, struggles, pain and pleasure, issues of socio-political events, and inter-personal conflicts, even sensuality. I was born and raised in Bangladesh, all my dreams and aspiration are related to that country. On the other hand, as an immigrant I am in a new cosmopolitan milieu, a world of different cultures and people. Now I crave to mingle these two separate worlds artistically. |
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My current body of work reflects my interests in the relationship between illustration and abstraction. By inventing illustrative-type characterizations and an imagined deconstructed cartoon iconography over a background of fantastic abstract colors, I attempt to summon nostalgic likenesses of symbolism from aspects of comic art, or cartoons. While the playful, organic, free-associative linework and expressive iconography of these characterizations supersedes a direct correlation with an actual cultural or social source, I aim to exaggerate or obfuscate the sensations produced by such familiar forms.
My work has been exhibited in many major US cities and in Europe and some work is currently represented (see website) Some of my work has appeared in Raw Vision magazine and New American Paintings (October 2006). |
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Discover the artworks of international artist Darko Topalski! Online gallery of works in a variety of media and styles! Destiny of the secrets is, almost always, to be discovered! |
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Lidia Tortomasi, pen-name Aidil Isamotrot, was born in Giardinello (PA) on 12 August 1970. She studied at the Statal Institute of Art of Cefalù (PA), where on 1989 got the diploma of art - section architecture and furniture.She studied to the Art Institute of Palermo and on 1994 got the diploma of art - section painting decoration. She studied also stage designing to the Fine Arts Academy of Agrigento in Palermo. She attends from many years the Nude Free School at the Fine Arts Academy of Palermo. She works for project of art and restoration. She is particularly interested to medieval art history. |
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As a child I was kidnapped at stick-point by a tribe of renegade pigmies in the south pacific. For six years I was used as slave labor for the tribe and whipping boy for the more emotionally malcontent pigmies. I was once served as food but my flesh was found to be unsavory by the tribe so for the remainder of my stay I was used as public transportation. I was then purchased by one professor Brian Brock Harmon who used me to kill rats on his estate. Tiring of such work I joined the U.S. submarine service (no shit), then eventually got my bachelors degree at The School of the Art Institute of Chicago. I presently live, work, play, and display in Chicago.
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Volume and Space are concepts that have influenced my art. I am particularly fascinated by their appearance in the human body. I am interested in exploring dialogue: both internal dialogue which exists within and external connection which moves between two people or objects. My art explores “contradictions” which are attracted to each other and create a new whole. The human figure appeals to me as an adequate form for expressing these ideas. Working with glass has given me the opportunity to stretch the boundaries of these concepts to new limits, as well as offering me the joyful experience of playing with colour. I concentrate my attention on capturing absence, an impression, commemorate memory, fleeing presence, give physical form to a spiritual value. Transfer an idea into physical form, however transparent it can appear. I want to question reality and illusion. In this respect glass has those specific qualities, to express invisible, using negative space. Since I started to use glass as sculpture medium I faced redefinition of sculpture. It seemed to me not any more as a presence in space but as an attitude towards space. It can be absence of volume as well, but not form, presence of form. Glass makes absence visible. The absence is transferred into visual terms, long after it ceased to exist. |
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Spitted on a planet, which he doesn’t understand, man is left on its own and his last spark of mind. In a condition of can-not-wait and want-not-share he is stuck on the ground of his glass drunk and – pondering, if it is half-empty or half-full – drowning by the plethora of NOW, ME, EVERYTHING.
Aggression against oneself and all others as the final quest for meaning and identity
has replaced religion – in a world, which centers faster and faster around itself and around nobody else.
Where illusion governs, substance does not make sense. Denial perfects self-delusion.
The invidual exculpation is perfect: the world is to be blamed. The others are to be blamed.
Distances, Circumstances, conditions are to be blamed.
Drives are to be blamed, time is to be blamed.
And we take the shortcut. Instant Gratification.
Proud – and somehow unaware - we wear the Kain’s marking on our forehead. Atrocity so much became our companion, that we don't recognize it - even when standing right before us and demasking itself.
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Born on 27 October 1961 in village of Letchevo, District Montana, Bulgaria. In 1981 ended the High School of Fine Arts in Plovdiv. 1983 - 1989 studied and graduated at the National Academy of Fine Arts, Sofia, Bulgaria. Valeri Tsenov creates in the field of painting and water - colour. |
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Born in Piraeus/Greece, Erato Tsouvala has studied painting, history of art and
modern art and has practiced in the laboratory of Greek artist Antonis Politakis.
Erato has exhibited her works in numerous group exhibitions in Greece, and recently has
started to promote her artwork abroad. Her work is influenced by Byzantine hagiography,
and is full of eroticism together with a quality of naked forms.
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Buddhism has been the greatest influence on my life but all things from Picasso to chaos influence my life and art. |
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Katja Tukiainen is a Finnish painter and comic artist. Her paintings and drawings have been exhibited in Europe since the middle of the 1990s. Her paintings are included in major Finnish public collections, including the Museum of Contemporary Art of Kiasma, Helsinki. Tukiainen paints sweet and almost harmless looking fairytale sceneries, from which with a second look the viewer can find carefully preserved secrets. Her paintings are proposals to look behind the curtains, and narrations for something you once knew and you had forgotten. |
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Mireille Turcot's artistic journey started when she was a child and has included forays into many different forms of creative expression. Classically trained at L'Ecole des Beaux-Arts in Grenoble, France, she continued to paint while venturing into the worlds of theatre, children's art education, communications and performance. She has created set designs and stage costumes; taught children painting, pottery and fresco techniques; worked in graphic design; and produced beautiful hand puppets for professional performances. In 1999 Mireille decided to actively show her work and had several solo exhibits in France. She continues to exhibit, and her paintings can be found in collections around the world. Her subjects vary from abstract to figurative and always reflect her signature color palette. Painting primarily in oils and acrylics on canvas, and sometimes adding collage, she strives to create simple lines, figures and surfaces. "Whether I am creating figuratives or abstracts, working in color or monochrome, I paint as I breathe, to live," says Mireille.
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Painting across color, line, rhythm and vitality, I create abstract paintings that are purely related to finding ideal balances of emotion and perception. Analogies between color and music are always present as music is my constant painting companion. I often liken my color relationships to musical scales or filaments in constant motion. I'm concerned with juxtaposing a grid or system of straight lines with gyrating curved lines in ways that uplift the senses with color, luminosity and movement. I feel this merging of linear and curving forms corresponds to the way motion occurs in human constructs such as cities and transportation systems. We're placed within predetermined structures or grids where movement is circumscribed and yet there is fluidity in the manner by which we navigate these systems. The natural and the constructed forms do a perpetual dance of aspiration and ascension.
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I'm a self-taught Canadian artist. I have developed a mainstream talent for modern paintings and I specialize in large-scale modern abstract and landscape paintings.
I've been doing business online and offline for over five years now. Some of my most influential accomplishments as a painter came these past few years. Among some of these accomplishments are an interview for CBC News show, a display of my artworks on labels of quality wine line, sales of paintings to movie producing companies (Fox TV, 'Three Good Men productions), being chosen to decorate a Thomson Nelson printed publication and more.
I mostly enjoy creating paintings that are a combination of both the abstract and the landscape streams. Regardless of what I paint, I strive to bring life and literal feelings to each and every creation. Each painting has a corresponding title with a sensible mood and/or meaning behind its design.
The global market has also shown interest in my artworks. I have sold art to many galleries and art collectors across the world.
During the years I have realized that my success also came to the support I've been given by my repeat customers. To express my gratitude, I have given back to foundations of need. Several of my masterpieces have been donated to and been auctioned off for money in local and remote events.
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