Thursday, November 1, 2012

Herve Dubreil - Unusual Perception

Dubreil’s work was recently exhibited at the Vasarely Foundation in Aix-en-Provence in connection with a Picasso retrospective.

We see hesitant figures moving in imaginary spaces, mixing with each other and connecting in a fluid space. Neither abstract or figurative, Dubreil’s work is a world in motion, frozen in colors and texture. Dubreil has matured and modified his pictoral expression over the years and has recently brought into his studio the inspiration of his love of Jazz. A universal harmony emerges from his work. These are works of distinction which never impose on the viewer or even the subject.

He is an artist who makes no concession

No tricks are allowed

Art at its purest

Monday, October 1, 2012

Zivana Gojanovic - Existentialism

The very nature of existence, of experiencing our own existence, is primal.
It goes beyond thought or words.
The recurring theme to Gojanovic’s work is
existentialism, the struggle of the common
man to overcome, or just to understand,
the forces that are larger than himself that
shape his existence.

Man is a vessel that
carries his soul if released to the sky the
two become whole. ENERGY. We all walk
a path of many tales and in the end the story
will be told. A window is not to only open
and close, it is to see the beauty around.
Her work is not subject to cultural trends
or current events.

Her themes are
timeless. The very nature of existence, of
experiencing our own existence, is
primal. It goes beyond thought or words.
Her paintings emerge from the
subconscious mind, a place where words
do not exist in and of themselves.

The subconscious constantly keeps its own
record of experience. It is the fertile
ground that germinates our ideas of who
we are and where we are going. This is
where she resides when she paints:
beyond words or trends. The
subconscious is a mystical place, and
its primal propulsion drives us all.

So in her paintings, through repetitive
symbols, strong colors and shapes she
attempts to create an emotional state in
the viewer that allows him to connect to
his own core strengths, transcending the
Sisyphean tasks of daily life and thereby
reaching a state of hope and enlightenment.
Her work has been exhibited in the
United States and Croatia and is in the
private collections of David Copperfield,
Magician/Entertainer and Dr. Laura
Schlessinger, Radio Personality. In 2007
she was commissioned to paint Senator
Hillary Clinton’s portrait.

Saturday, September 1, 2012

Alina Maksimenko - Wandering Palette

Her paints resemble sounds

"My fingers wander around the canvas as I play with my instrument.My eyes will dash through the darkness of paint like headlights in the night."

This is how Maksimenko describes how she works.

"My ears hovering over the world,
like a bat spreading its wings to fly.
First I know not where I am,
I see nothing in front of me,
I hear not a word.

But the beating heart of my fingers,
eyes & ears come together
and tell me about it all,

 Maksimenko is spontaneous by nature
and consequently having an open, natural
and uninhibited manner enables her to work
both independently and with an obvioius
sense of freedom.

Her confident lines are always loose and fluid;
showing the observer her true quality and strength,
which lies in her simplicity.
Whether one is admiring a harbour scene,
a still life or a nude,
one is immediately struck by her excellent composition
and her extraordinary use of color.
Her paints resemble sounds.
Artfully colorful, the crawl out of their shelters -
jars, boxes, small and large tubes -
and scream in different voices when trying to
assume possession of the biggest possible territory.
 Many people are inspired by Maksimenko's work
and a great many of these people are artists themselves.
That surely speaks volumes about Maksimenko who is
undoubtebly a shining star from the East.
Her work has been exhibited all over Europe
in France, Ireland and the United Kingdom as well as
Croatia, Russia and Ukraine. 

Wednesday, August 1, 2012

Dany Jung - Playfulness

Dany Jung - Playfulness

In 1962, Jung discovered traditional Alsatian pottery in Soufflenheim. His skill has evolved and he has clearly been influenced by his travels abroad. His recent work is inspired by the ancient art of Chinese burial figures. He has added a dose of his whimsical personality to each piece.

Between heaven and earth, between the fall and flight, he cultivates a taste of the imbalance in a harmonious sculpture. As a graphic designer, he loved the line and shapes. Traveler first, bringing back wonderful books, a fortune of information about the countries he visited.

It is an art to escape gravity. To Dany Jung playing and creating defies the world. Sophisticated is the circle, acrobats and dancers, animal exhibitors, wrestlers. It is a circle of movement, a circle of excellence.

Sunday, July 1, 2012

Odile Kinart - My Boats Don't Have Oars

My sculptures are spectators or dancers

I want to express serenity, harmony, and light humor. My sculptures are spectators or dancers who dance the dance of life; they are more like Buddha’s. But in fact I am a workaholic, passionate and restless, longing for calm.

My boats don’t have oars

My figures are all at rest. The attributes are beds, chairs, sofas, baths or swings. My boats don’t have oars. They sail along with the current, in harmony with the elements, with life itself. The names of my sculptures often refer to quiet times: timeless, time lost, time off ... just sitting there ... listening to the summer rain ...

The form is just as important as the content

The same theme will turn into a tear-jerker in one poem and can become quite moving, universal or poetic in another. The difference isn’t in the subject, but in the choice and dosage of both words and breaks. Volumes and form tension are important visual art aspects.

I attach a great deal of importance to traditional aspects

I feel the traditional aspect of art is very important. All the vagueness and pretence surrounding art irritates me. A chair designed in pure lines and carefully built is just as much like art to me, as can be the case with cooking.

Accessible Art

I am particularly inspired by pre-Columbian art and the old African wooden sculptures you can admire in the Tervuren museum. I find ethnic art very appealing, as it’s so simple, almost child-like, but very expressive. The sheer joy which has gone into making these sculptures is very evident. I am also a great admirer of Art Brut, of the works of art produced by psychiatric patients, like the ones on display at the Gent Museum Dr Guislain, and of children’s drawings. I also love allotment gardens, with buxus and taxus pruned into dragons and animals. Yes, I know, we are now on the very edge of kitsch, but this is only a word, just like the ugly words artist and intellectual.

The words love and god are also in the top five of ugly words.

Friday, June 1, 2012

Jean Louis Corby - Geometrical Elegance

It is through the cohesion of movement and mind
that the Corby figures adorn themselves with
a geometrical elegance that induces their feelings
From his studio, the sculptor Corby
discreetly observes the great human

Attentive to everything, he
analyzes physical and moral behavior and
adapts the plastic of movement to human
psychology. Better than a long speech,
through the work of volumes and shapes,
his hands sculpt a figure always the same,
stateless, active, avid for existence.

It is
through the cohesion of movement and
mind that the Corby figures adorn
themselves with a geometrical
elegance that induces their feelings.

It is also through a technique that is
willfully rigorous, direct and precise that
Corby concretizes uncertainty,
unhappiness, joy and suffering both
great and small.
Seattle Art Galleries sculpture artist Corby
His figures assert themselves as human,
sincere, realist and very present. With
no possible hesitation, we all recognize
ourselves, man or woman, no matter, it is
the same story with the same existential

Beyond this delicately portrayed
sensitivity, the immobility and silence
so characteristic of statures are felt not
as petrifaction of body and soul but as a
message of tolerance and humanity.

His art, resolutely figurative, testifies with
a sure hand by sculpting the “right words”
of life, without pointless embellishment.

Corby leads us to discover ourselves as in a
mirror pierced by remembered tenderness.
From earth and bronze, mind and flesh, his
figures revive an astonishing curiosity in
ourselves while awakening in us all
numerous echoes and memories.

With the door of his studio always open on
the world, Corby passionately sculpts the
profound values of existence.

Tuesday, May 1, 2012

Jean Triolet - Painter of Felicity

From the fragrance of the garrigue, one drifts slowly towards
that impalpable lightness of things that attests that his
paintings are about felicity.

A grey-blue background, a hand and brush that paint. A line is drawn, forms appear. In several minutes, a landscape of Provence emerges on the canvas. And the painting had the effect of an antidote. If you are depressed or melancholy, settle yourself in front of this armful of colors. Your eyes light up, a smile comes to your lips, your soul finds serenity.

Painting is to Triolet what rhetoric is to a public defender: an arsenal for eloquent expression. Between the Mediterranean and the Alpilles, he found the land whose beauty he has recreated for thirty years, the Provence “that laughs, that cries, that sings with the cicadas.”

“I’ve always had Cezanne’s palette, I mean in the tones,” he explains. “For three decades, I’ve played with the nuances. There is a law in painting: one color is judged in regards to another color.”

Each canvas of Triolet is a personal vision of Provence, a Provence of origins, quasi-immemorial, that he would like to see preserved from the ravages of industrialization and galloping urban growth. Nostalgia? No.  Only the love of nature and respect for an indentity. One cannot help but subscribe to this thought of Alauzen di Genova: “The painter in front of his stretched canvas reconstitutes the mental architecture that he transposes from nature - to render it more sensible to others.” Who would blame Triolet for magnifying or idealizing his Provence?

The still-lifes and landscapes confirm his gifts of observation and his infatuations. What has changed, someone has said, are the softest colors. This is a new departure in his painting, yet not a repudiation of his previous criteria. And nothing allows us to judge this better than his recent productions or exhibitions. His art has the same coherence.

Triolet has too much experience to ignore that painting is a profession, a double engagement of the eye and spirit. It is an art of perception as much as one of memory. If the French artist, ambassador for his country, is appreciated in Europe and overseas, it is because in the United States, in Japan, in Switzerland or in Canada, people like knowing that his painting is more about what it contains than what it shows.

His paintbrush reconciles you with the real treasures of life. He is a painter of felicity.