Painting

Looking Within to Move Forward

Trying to find ways to stimulate creativity interferes with the real world, and organization is something that has always made me feel energized.

 So a few days ago, I decided to start cataloging my paintings; ranging from works I’ve done as a teen back in the 90s to some most recent ones. Once cataloged and photographed, I searched for the most affordable storage space I could afford.  Being able to clear some space near my easel makes me feel somewhat reinvigorated.

Having looked at all the early drawings and paintings from back then has helped me get a sense of orientation, it brought me back to a place and point in my life when drawing and painting was both an adventure and emotional exile.

Sketches by Edward Hopper

Having the opportunity to view the sketches of any artist is simply mind blowing, it's something that makes me feel as if I was a fly on the wall being witness to his or her struggles and observations. Looking at these sketches by American artist Edward Hopper is very inspiring to me,  simply because it shows the work he put into his compositions and the orderly fashion in which he arranged every element.  The looseness of these sketches shows a mind in action, but more than that, they show the pursuance of narrating a story.

New York Movie, 1939

Poder observar los bocetos de cualquier artista es simplemente una experiencia muy motivadora para mi,  es como si de alguna manera pudiera estar presente y observar la lucha con que se busca darle el sitio adecuado a cada elemento de la composicion.

Poder apreciar estos bocetos del pintor American Edward Hopper es sin duda muy estimulante para mi, me permite ver el trabajo que el puso para ir desarrollando la idea, o lo que es igual, me permite apreciar como el iba en busca de narrar una historia.

Office at Night, 1940

Georgy Kurasov

It's  not common to find artwork that combines surrealism and abstraction; and yet, is narrative and iconic. To find a balance in all these elements of artistic expression is quite a challenge.  The work by Russian artist Georgy Kurasov is a very pleasant surprise, his aesthetic direction reminds me of various other artists from the 20th century, but there are other elements that in my opinion, are reminiscent of commercial art.  My very favorite aspect from his work is that in spite of  it being very geometric , it is also dynamic and textural.1536422_579428995472348_2014111018_n

Encontrar una fusion entre surrealismo y abstracionismo no es muy comun. Si a esto  le sumamos narrativa e iconismo,  podriamos decifrar lo complicado que resulta encontrar obras que tengan un balance entre todos esos elementos.

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El trabajo artistico de Georgy Kurasov ha sido una grata sorpresa,  su estética es algo que me recuerda a varios maestros del siglo XX, fusionado con elementos que también se encuentra en el arte comercial. El aspecto que mas disfruto de este artista Ruso, es  también que a pesar de su geometría, las obras de  Kurasov también son riquísimas en textura y dinamismo.

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Serge Marshennikov

Serge-Marshennikov_web2-672x372 Something I appreciate most about hyper-realism is that it shows craftsmanship; in contrast,  what I dislike most about it is what seems to be obsessive behavior by the artist. Looking at the works by Russian painter Serge Marshennikov,  I  feel compelled to think that he knows when to leave just enough detail so that we preserve our fantasy. A common thread I find among hyper-realism painters, is that  they don't allow the viewer's eye to wander, but rather to simply look.  With the work of Serge Marshennikov, not only I perceive volume and form, but also a sense of atmosphere; and that, in my opinion, is stepping in the right direction for artistic excellence. Serge-Marshennikov_web15-672x372

Si hay algo que aprecio del movimiento hiper-realistaes que sus artistas demuestran un gran dominio técnico; sin embargo, lo que me disgusta es cuendo esa manualidad interrumpe la fantasiaen el momento que compite por ser mas relevante que la obra en si.

La pintura de  Serge Marhennikov me lleva a pensar que él sabe muy bien de estos riesgos y entiende cuando debe dejar el pincel a un lado, y así evitar que el observador pierda su fantasia; y esto, en mi opinion, es lo que lo distingue de otros pintores que optan por este estilo de pintura. Mershennikov nos demuestra que no solo sabe traducir el misterioso lenguage de forma y volumen, si no también el también misterioso idioma que es la atmosfera, y eso segun lo veo, es acariciar la excelencia en el arte de la pintura.