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31 de marzo de 2013
Ruben Abovian
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Biography:
Ruben Abovian, born in Armenia in 1948, has long recognized as a painter of extraordinary ability of many world famous art critics and artists. His imagination is free and he produces an outstanding work that projected him as a distinguished artist. Abovian's exhibitions are always considered to be an important event. He is a true pioneer and has introduced many bold innovations into European painting. Ruben Abovian has established a new avenue in today's contemporary art. I have been impressed by the impact and the mystery of his personages and characters with no faces, without eyes. It is majestic and bewitching!
Ruben Abovian, born in Armenia in 1948, has long recognized as a painter of extraordinary ability of many world famous art critics and artists. His imagination is free and he produces an outstanding work that projected him as a distinguished artist. Abovian's exhibitions are always considered to be an important event. He is a true pioneer and has introduced many bold innovations into European painting. Ruben Abovian has established a new avenue in today's contemporary art. I have been impressed by the impact and the mystery of his personages and characters with no faces, without eyes. It is majestic and bewitching!
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Rozi Demant
Biography:
Rozi Demant paintings refer to representation surrealism, a genre championed by Dali and Magritte, whose philosophies encouraged the depiction of fantasy and dreamlike scenarios. As a self taught artist, however, Demant's imagery is gleaned entirely from her own imagination. Rozi Demant created no small amount of controversy and sensation by being one of the few New Zealand artists to experience 5 sell out shows in succession since her first solo show in 2002 at age 17. It has taken Demant almost 2 years to complete her latest exhibition of seven works which will be exhibited in California. In marked contrast to the hype surrounding her work, Demant herself is shy and reclusive, working out of her studio in the small town of Whakatane. When asked to speak about her work, she is reserved. Upon closer inspection, it becomes apparent as to why she is so reticent. It is probable that her work is deeply personal. The sole female protagonist in her paintings bears a striking resemblance to the artist - it cannot be ignored that her paintings are a possible reflection of herself. Demant comments on her secrecy, "To talk about my paintings feels like I am exposing too much of myself, this is something I can’t and won’t do.” She is also adamant that although her work is highly symbolic, she wants viewers to interpret its meaning for themselves. Just like the Surrealist paintings of Picasso, Dali and Magritte (whom she cites as inspirations), much is left to the realms of the imagination and the subconscious. This is something which is important to Demant, as she feels that her work is better left to private contemplation in order to retain its particular mystery.... Demant’s surrealized women, who possess something of Modigliani’s style in their appearance, reside in dark, opulent, fantasy worlds. Her work continues to become more detailed and the mastery of her medium is apparent with each new body of work. This confidence is manifested in more intrepid subjects and imaginative narratives. Although her work has always been erotic through its use of burlesque-type characters dressed in revealing corsetry, in Lovebirds, her work has become more overtly sexual. Demant has introduced a white-haired character who adopts feline-like poses on the end of a chain, presided over by her captive - a somber dark-haired woman in gothic dress. The introduction of this character is decidedly different from her previous work which contained only one repeated female protagonist. Whereas in earlier works, the main character still retained childlike qualities, these new paintings are undeniably of mature women. Although sexually provocative, Demant’s women always retain the elegance and poise of a balancing ballerina. Their elongated legs and exaggerated female proportions lend them a vulnerability and innocence that belies their sexual, sometimes tortured behavior. The Amaranthus Caudates (Loves Lies Bleeding flower) is still prominent in this series - it’s vivid blood-red hue suffusing the rich color palate of the works. There is tension between captor and captive, with the viewer left unsure as to who plays which role. In some paintings, the lonely, unobtainable protagonist purges cages from her mouth; while in others she holds them in her hand, confident, assertive, holding the feline characters captive. Demant is continually inventive and maybe in each series there are aspects of herself that she is tentatively exposing, or as of yet, unwilling to free. Although Demant’s work draws comparisons with Pop Surrealism, she continues to be wholly unique and idiosyncratic in her approach. There is a subtlety and delicacy to her work that is clearly her own. Demant’s singular talent, coupled with her position as somewhat of an outsider, allows her work to remain distinctive and unclassifiable. As a result, her work continues to show great promise and is gifted with a rare, enigmatic and captivating beauty. Demants exhibition opens on the 19th July 2008 at Tarryn Teresa Gallery in Santa Monica, California. Giclee prints of the exhibition will also be on show at the Warwick Henderson Gallery from Tuesday 22 September until 1 August, 2008.
Rozi Demant paintings refer to representation surrealism, a genre championed by Dali and Magritte, whose philosophies encouraged the depiction of fantasy and dreamlike scenarios. As a self taught artist, however, Demant's imagery is gleaned entirely from her own imagination. Rozi Demant created no small amount of controversy and sensation by being one of the few New Zealand artists to experience 5 sell out shows in succession since her first solo show in 2002 at age 17. It has taken Demant almost 2 years to complete her latest exhibition of seven works which will be exhibited in California. In marked contrast to the hype surrounding her work, Demant herself is shy and reclusive, working out of her studio in the small town of Whakatane. When asked to speak about her work, she is reserved. Upon closer inspection, it becomes apparent as to why she is so reticent. It is probable that her work is deeply personal. The sole female protagonist in her paintings bears a striking resemblance to the artist - it cannot be ignored that her paintings are a possible reflection of herself. Demant comments on her secrecy, "To talk about my paintings feels like I am exposing too much of myself, this is something I can’t and won’t do.” She is also adamant that although her work is highly symbolic, she wants viewers to interpret its meaning for themselves. Just like the Surrealist paintings of Picasso, Dali and Magritte (whom she cites as inspirations), much is left to the realms of the imagination and the subconscious. This is something which is important to Demant, as she feels that her work is better left to private contemplation in order to retain its particular mystery.... Demant’s surrealized women, who possess something of Modigliani’s style in their appearance, reside in dark, opulent, fantasy worlds. Her work continues to become more detailed and the mastery of her medium is apparent with each new body of work. This confidence is manifested in more intrepid subjects and imaginative narratives. Although her work has always been erotic through its use of burlesque-type characters dressed in revealing corsetry, in Lovebirds, her work has become more overtly sexual. Demant has introduced a white-haired character who adopts feline-like poses on the end of a chain, presided over by her captive - a somber dark-haired woman in gothic dress. The introduction of this character is decidedly different from her previous work which contained only one repeated female protagonist. Whereas in earlier works, the main character still retained childlike qualities, these new paintings are undeniably of mature women. Although sexually provocative, Demant’s women always retain the elegance and poise of a balancing ballerina. Their elongated legs and exaggerated female proportions lend them a vulnerability and innocence that belies their sexual, sometimes tortured behavior. The Amaranthus Caudates (Loves Lies Bleeding flower) is still prominent in this series - it’s vivid blood-red hue suffusing the rich color palate of the works. There is tension between captor and captive, with the viewer left unsure as to who plays which role. In some paintings, the lonely, unobtainable protagonist purges cages from her mouth; while in others she holds them in her hand, confident, assertive, holding the feline characters captive. Demant is continually inventive and maybe in each series there are aspects of herself that she is tentatively exposing, or as of yet, unwilling to free. Although Demant’s work draws comparisons with Pop Surrealism, she continues to be wholly unique and idiosyncratic in her approach. There is a subtlety and delicacy to her work that is clearly her own. Demant’s singular talent, coupled with her position as somewhat of an outsider, allows her work to remain distinctive and unclassifiable. As a result, her work continues to show great promise and is gifted with a rare, enigmatic and captivating beauty. Demants exhibition opens on the 19th July 2008 at Tarryn Teresa Gallery in Santa Monica, California. Giclee prints of the exhibition will also be on show at the Warwick Henderson Gallery from Tuesday 22 September until 1 August, 2008.
30 de marzo de 2013
Pinturas de Alexander Voronkov
Biografìa:
Alexander Voronkov. Nacido en la ciudad de Barnaul, Territorio de Altai. 1982 – Graduado de la Escuela de Arte de Riazán. desde 1982 hasta 1984 – Trabajó en el diseñador de producción Teatro Regional del Teatro 1991 – Graduado de la Estatal de Moscú, académico Instituto de Arte. VI Surikov taller TT Salakhova (vice-presidente de Rusia Academia de las Artes) 1997 – 1998 – pintó el comedor y el santuario del Templo de la Santísima Trinidad en la finca Ostafievo. Miembro de la Unión creativo de los artistas de Rusia. . Medalla de Oro TCS Rusia y la Medalla de Plata de las Artes Estado galardonado con el Premio en la literatura y las artes para el año 2007 Las obras son: en la región de Riazán museo de arte mismo. Pozhalostina IP, Pulido del estado histórico-arquitectónico y museo de arte de las reservas, el Museo del Instituto de Arquitectura de Moscú, Kostroma Estado recinto-museo. Vive y trabaja en Moscú y Región de Moscú.
Alexander Voronkov. Nacido en la ciudad de Barnaul, Territorio de Altai. 1982 – Graduado de la Escuela de Arte de Riazán. desde 1982 hasta 1984 – Trabajó en el diseñador de producción Teatro Regional del Teatro 1991 – Graduado de la Estatal de Moscú, académico Instituto de Arte. VI Surikov taller TT Salakhova (vice-presidente de Rusia Academia de las Artes) 1997 – 1998 – pintó el comedor y el santuario del Templo de la Santísima Trinidad en la finca Ostafievo. Miembro de la Unión creativo de los artistas de Rusia. . Medalla de Oro TCS Rusia y la Medalla de Plata de las Artes Estado galardonado con el Premio en la literatura y las artes para el año 2007 Las obras son: en la región de Riazán museo de arte mismo. Pozhalostina IP, Pulido del estado histórico-arquitectónico y museo de arte de las reservas, el Museo del Instituto de Arquitectura de Moscú, Kostroma Estado recinto-museo. Vive y trabaja en Moscú y Región de Moscú.
29 de marzo de 2013
George Tooker
Biografìa:
George Tooker (1920-2011). Fue un pintor norteamericano correspondiente al figurativismo asociado a los movimientos del realismo mágico y al realismo social. Tooker a pesar de su homosexualidad no llega a ser un representante significativo del homoerotismo artístico, porque su obra homoerótica no es extensa, su preocupación era la realidad social de su país, sin embargo la importancia de su trabajo es que los hombres y mujeres que plasma en sus cuadros son casi andróginos, sin naturaleza sexual firme, y es allí donde reside su importancia, ya que los ubica en un solo género, humanos, que viven y padecen los mismos problemas, inquietudes, y que sobreviven sobretodo la “maquinaria social” que los aplasta.
George Tooker (1920-2011). Fue un pintor norteamericano correspondiente al figurativismo asociado a los movimientos del realismo mágico y al realismo social. Tooker a pesar de su homosexualidad no llega a ser un representante significativo del homoerotismo artístico, porque su obra homoerótica no es extensa, su preocupación era la realidad social de su país, sin embargo la importancia de su trabajo es que los hombres y mujeres que plasma en sus cuadros son casi andróginos, sin naturaleza sexual firme, y es allí donde reside su importancia, ya que los ubica en un solo género, humanos, que viven y padecen los mismos problemas, inquietudes, y que sobreviven sobretodo la “maquinaria social” que los aplasta.
28 de marzo de 2013
Abel Pann
Biography:
Abel Pann. (1883-1963) Born Abba Pfeffermann in Latvia or in Kreslawka, Vitebsk, Belarus, he was a European Jewish artist who spent most of his adult life in Jerusalem. Pann studied the fundamentals of drawing for three months with the painter Yehuda Pen of Vitebsk, who also taught Marc Chagall.[1] In his youth, he traveled in Russia and Poland, earning a living mainly as an apprentice in sign workshops.
Abel Pann. (1883-1963) Born Abba Pfeffermann in Latvia or in Kreslawka, Vitebsk, Belarus, he was a European Jewish artist who spent most of his adult life in Jerusalem. Pann studied the fundamentals of drawing for three months with the painter Yehuda Pen of Vitebsk, who also taught Marc Chagall.[1] In his youth, he traveled in Russia and Poland, earning a living mainly as an apprentice in sign workshops.
Yves Thos
Biography:
YVES THOS. En quarante ans de création, Yves THOS s’est imposé comme un artiste international exemplaire. Chef de file d’une école d’affichistes qui s’enorgueillit de compter parmi ses rangs des noms tels queVanni Tealdi, Yves Prince et Benjamin Baltimore, il est l’auteur de chefs d’oeuvre aujourd’hui inscrits au patrimoine mondial du cinéma. Né à Clichy, à un jet de pierre de l'endroit où Louis-Ferdinand Céline exerçait la médecine, Yves Thos a débuté à l'âge de dix-neuf ans dans le métier d'affichiste de cinéma pour ne plus jamais le quitter. Il crée l'accroche visuelle de La Dolce Vita, de Felini. Artiste de la brûlante affiche du film La femme et le Pantin, son trait énergique révèle alors une Brigitte Bardot provocatrice et tourbillonante d'érotisme. Le monde du cinéma devient son univers familier. Ce qu'il met en images, d'affiche en affiche, n'est rien de moins qu'une mythologie des temps nouveaux, un Parnasse cinématographique dont les reproductions offset ornent les murs des villes de la Terre entière de leur quadrichromie tour à tour violente, torride ou drôle. Yve Thos excelle dans la conception de jaquette de livres. Il en crée plus de cinq cents. En 1965, au journal pilote, il forme équipe avec Albert Uderzo et René Goscinny. L’assertivité de ses affiches est venue féconder son univers pictural, où continuent de prévaloir l’efficacité plastique et l’art de la narration. Depuis une quinzaine d’années, Yves THOS s’est mis à explorer une veine de l’art contemporain qui procède directement de la révolution communicationnelle de la deuxième moitié du XXè siècle. En cela, son réalisme n’est qu’une apparence. Il ouvre des portes d’or et de marbre sur un monde symbolique où rien n’est figuré, mais suggéré par une tension voulue aussi bien dans la facture que dans les sujets, entre le sombre et l’éclat, la jeunesse et l’âge, le sensuel et le hiératique, le dynamique et l’intériorisation. L'oeuvre d'Yves Thos est trop ancrée dans son siècle pour que l'on s'abstienne de lui trouver des parentés. Tout animé qu'il est du souci d'être compris instantanément de tous et admis par les médias, ses affiches et, plus tard, ses peintures s'inscrivent dans une démarche comparable mais non similaire à celle du pop'art qui, lui aussi, a su donner une esthétique et une profondeur à la culture populaire De même que l’affiche s’est nourrie abondamment de l’image d’Epinal et de la gravure des Daumier et des Steinlein, de nos jours les tableaux de THOS puisent aux sources tonifiantes de l’affiche et de l’art contemporain figuratif. Pour hyperfigurative qu'elle soit, l'imagerie de Thos n'est pas pour autant à ranger parmi la création hyperréaliste. Là où ce courant de l'art moderne cherche à reproduire, voire à dépasser le réel à force de précision technique et d'objectivité, le monde visuel de Thos est tourné vers l'émotion. Idéologiquement, cela veut dire qu'il se refuse à contraindre le regard de l'autre par l'illusion en deux dimensions. Son oeuvre bannit la froideur et le vide. Son regard ne se pose que rarement sur des objets inanimés. Peintre, il s'interesse au premier chef à ce qui unit les humains ou les différencie positivement. Ce que Thos enfante dans la rigueur et l’onirisme est une génération picturale nouvelle qui procède naturellement de l’un et de l’autre. La perfection de la forme amplifie le contenu des rêves. Eloignés des canons classiques, son traitement de la matière et ses sfumatos y font écho, pour conduire le spectateur à travers des paysages certes connus, mais jamais regardés sous pareil éclairage. Peinture de belle facture, dira-t-on, académisme maîtrisé et heureusement dépassé. Sur le chemin un peu solitaire qui conduit de l’hyperréalisme au lyrisme poétique, Yves THOS montre avec quelle nécessité l’iconographie propre à notre temps se décline en une nouvelle alliance esthétique qui contourne, malgré son acuité, le maniéré et le doucereux. Impressionnant virtuose de la lumière faite formes, jouant parfois aux limites de la surexposition, de l’éblouissement, usant de blancs épais et éclatants, retenant du cinéma le feu des projecteurs qui se substitue au soleil sur le plateau, il lui plaît de situer ses tableaux en équilibre sur le double tranchant de l’allégorie et du néo-romantisme. Praticien accompli du contraste en matière de trait et de couleur, Yves Thos l'est aussi dans la mise en scène de ses thèmes. Cet amour du contraste plastique est là pour servir le jeu des oppositions d'idées qui lui sont chères. Les situations qu'il nous propose de visionner tirent leur signification des concepts, eux-mêmes tranchés entre clair et obscur. Il nous prend à témoin de la dualité des forces de l'univers, de l'enchaînement des causalités qui régit la destinée humaine. Il nous soumet aux tensions du couple jeunesse-beauté, nous exalte par la sensualité-intériorité, la volupté-humilité, il nous subjugue dans le mouvement-inertie pour nous abandonner à l'action rêve. Les titres des tableaux d'Yves Thos attestent de l'attention exclusive qu'il porte à la femme, qu'elle soit africaine, russe, paysanne asiatique ou gitane, qu'elle vive de la terre ou de la danse ou tout simplement de sa propre beauté. Chez Thos, tout montre combien il redoute la verbosité des discours picturaux oiseux. Il va droit au but de sa pensée. Musicien, Thos serait Satie, pour son art du simple, pour sa gamme chromatique focalisée sur l'essentiel. Son invention magistrale est celle d’un conteur du silence, d’un peintre enfin, grand et sans équivoque.
YVES THOS. En quarante ans de création, Yves THOS s’est imposé comme un artiste international exemplaire. Chef de file d’une école d’affichistes qui s’enorgueillit de compter parmi ses rangs des noms tels queVanni Tealdi, Yves Prince et Benjamin Baltimore, il est l’auteur de chefs d’oeuvre aujourd’hui inscrits au patrimoine mondial du cinéma. Né à Clichy, à un jet de pierre de l'endroit où Louis-Ferdinand Céline exerçait la médecine, Yves Thos a débuté à l'âge de dix-neuf ans dans le métier d'affichiste de cinéma pour ne plus jamais le quitter. Il crée l'accroche visuelle de La Dolce Vita, de Felini. Artiste de la brûlante affiche du film La femme et le Pantin, son trait énergique révèle alors une Brigitte Bardot provocatrice et tourbillonante d'érotisme. Le monde du cinéma devient son univers familier. Ce qu'il met en images, d'affiche en affiche, n'est rien de moins qu'une mythologie des temps nouveaux, un Parnasse cinématographique dont les reproductions offset ornent les murs des villes de la Terre entière de leur quadrichromie tour à tour violente, torride ou drôle. Yve Thos excelle dans la conception de jaquette de livres. Il en crée plus de cinq cents. En 1965, au journal pilote, il forme équipe avec Albert Uderzo et René Goscinny. L’assertivité de ses affiches est venue féconder son univers pictural, où continuent de prévaloir l’efficacité plastique et l’art de la narration. Depuis une quinzaine d’années, Yves THOS s’est mis à explorer une veine de l’art contemporain qui procède directement de la révolution communicationnelle de la deuxième moitié du XXè siècle. En cela, son réalisme n’est qu’une apparence. Il ouvre des portes d’or et de marbre sur un monde symbolique où rien n’est figuré, mais suggéré par une tension voulue aussi bien dans la facture que dans les sujets, entre le sombre et l’éclat, la jeunesse et l’âge, le sensuel et le hiératique, le dynamique et l’intériorisation. L'oeuvre d'Yves Thos est trop ancrée dans son siècle pour que l'on s'abstienne de lui trouver des parentés. Tout animé qu'il est du souci d'être compris instantanément de tous et admis par les médias, ses affiches et, plus tard, ses peintures s'inscrivent dans une démarche comparable mais non similaire à celle du pop'art qui, lui aussi, a su donner une esthétique et une profondeur à la culture populaire De même que l’affiche s’est nourrie abondamment de l’image d’Epinal et de la gravure des Daumier et des Steinlein, de nos jours les tableaux de THOS puisent aux sources tonifiantes de l’affiche et de l’art contemporain figuratif. Pour hyperfigurative qu'elle soit, l'imagerie de Thos n'est pas pour autant à ranger parmi la création hyperréaliste. Là où ce courant de l'art moderne cherche à reproduire, voire à dépasser le réel à force de précision technique et d'objectivité, le monde visuel de Thos est tourné vers l'émotion. Idéologiquement, cela veut dire qu'il se refuse à contraindre le regard de l'autre par l'illusion en deux dimensions. Son oeuvre bannit la froideur et le vide. Son regard ne se pose que rarement sur des objets inanimés. Peintre, il s'interesse au premier chef à ce qui unit les humains ou les différencie positivement. Ce que Thos enfante dans la rigueur et l’onirisme est une génération picturale nouvelle qui procède naturellement de l’un et de l’autre. La perfection de la forme amplifie le contenu des rêves. Eloignés des canons classiques, son traitement de la matière et ses sfumatos y font écho, pour conduire le spectateur à travers des paysages certes connus, mais jamais regardés sous pareil éclairage. Peinture de belle facture, dira-t-on, académisme maîtrisé et heureusement dépassé. Sur le chemin un peu solitaire qui conduit de l’hyperréalisme au lyrisme poétique, Yves THOS montre avec quelle nécessité l’iconographie propre à notre temps se décline en une nouvelle alliance esthétique qui contourne, malgré son acuité, le maniéré et le doucereux. Impressionnant virtuose de la lumière faite formes, jouant parfois aux limites de la surexposition, de l’éblouissement, usant de blancs épais et éclatants, retenant du cinéma le feu des projecteurs qui se substitue au soleil sur le plateau, il lui plaît de situer ses tableaux en équilibre sur le double tranchant de l’allégorie et du néo-romantisme. Praticien accompli du contraste en matière de trait et de couleur, Yves Thos l'est aussi dans la mise en scène de ses thèmes. Cet amour du contraste plastique est là pour servir le jeu des oppositions d'idées qui lui sont chères. Les situations qu'il nous propose de visionner tirent leur signification des concepts, eux-mêmes tranchés entre clair et obscur. Il nous prend à témoin de la dualité des forces de l'univers, de l'enchaînement des causalités qui régit la destinée humaine. Il nous soumet aux tensions du couple jeunesse-beauté, nous exalte par la sensualité-intériorité, la volupté-humilité, il nous subjugue dans le mouvement-inertie pour nous abandonner à l'action rêve. Les titres des tableaux d'Yves Thos attestent de l'attention exclusive qu'il porte à la femme, qu'elle soit africaine, russe, paysanne asiatique ou gitane, qu'elle vive de la terre ou de la danse ou tout simplement de sa propre beauté. Chez Thos, tout montre combien il redoute la verbosité des discours picturaux oiseux. Il va droit au but de sa pensée. Musicien, Thos serait Satie, pour son art du simple, pour sa gamme chromatique focalisée sur l'essentiel. Son invention magistrale est celle d’un conteur du silence, d’un peintre enfin, grand et sans équivoque.
27 de marzo de 2013
Brent Heighton
Biography:
Brent Heighton. Has been painting for over 30 years fulltime. After college Brent began a brief career in the commercial art field. Not satisfied with the deadlines, the rush jobs, and working out other peoples ideas as to how they wanted things to look, he realized that as difficult as working in the Fine Arts was, becoming a painter of what you want and not what someone else wants, was the most important and satisfying. He has never looked back on or regretted taking that chance. Working as a fulltime Artist has allowed Brent to travel all over the world in search of ideas and things to paint. Brent has traveled with his family to Europe, spending time in France, Holland, Belgium, and as far south as Greece. All the time with paints and brushes in hand, always looking for that inspiration just around the corner. The difference of light in a place like Greece compared to Cornwall, England is very exciting says Brent. Brent and Elizabeth winter in their home in Mexico. The architecture, the people, and the light keep enticing Brent back there, “I find Mexico helps my creative juices start to flow when I’m there and I love the color of the light.” says Brent. Brent’s watercolours, acrylics and oils have been well received by many corporate and private collectors in over 30 countries of the world. Brent has had exhibitions in New York, Tokyo, Germany, Belgium, Holland, many parts of the U.S.and most recently Mexico. His work has won him numerous awards throughout Canada and the U.S. But the important thing is, as Brent points out is not the awards, it’s how it makes you feel putting your feelings on paper or canvas so that the persons observing can experience the joy you had in painting that particular artwork.?“If you can make that connection with someone it feels great inside” he says. Continuing to explore new ideas and approaches to painting, he is never happy to stay in one place creatively. And his work continues to grow and mature as he pushes his creative boundaries. “It has been a bumpy ride over a long period of time to arrive at this point. I liken it to the uncertainty of Charles Lindberg’s quest to be the first flyer to wing his way across the Atlantic. You get the plane off the ground – somewhat of an accomplishment in itself – and reach an altitude where you feel everything’s under control. But then there are a series of mechanical concerns or foul weather systems that constantly test your mettle and cause you to question the wisdom of your choice to set such a lofty goal. And wherein I haven’t landed my plane successfully yet, at least I’m still aloft, and the propeller keeps on churning! While there has been – and I suspect will continue to be – constant hurdles to overcome, I have been extremely fortunate. It has not been all that difficult to keep a positive outlook towards my work. When a new blanket of snow smothers the countryside, I am inspired. When the azaleas and rhododendrons burst into bloom in my garden and my Koi fish reappear, I’m keen to paint. The angles of branches in a forest or the way the light streams through them can cause me to rush to my studio. A weathered fence, a golf green, fish boats in a harbour, intriguing architecture, waterfowl on a pond: all or any can move me to paint. And when I am painting, I am happiest.”
Brent Heighton. Has been painting for over 30 years fulltime. After college Brent began a brief career in the commercial art field. Not satisfied with the deadlines, the rush jobs, and working out other peoples ideas as to how they wanted things to look, he realized that as difficult as working in the Fine Arts was, becoming a painter of what you want and not what someone else wants, was the most important and satisfying. He has never looked back on or regretted taking that chance. Working as a fulltime Artist has allowed Brent to travel all over the world in search of ideas and things to paint. Brent has traveled with his family to Europe, spending time in France, Holland, Belgium, and as far south as Greece. All the time with paints and brushes in hand, always looking for that inspiration just around the corner. The difference of light in a place like Greece compared to Cornwall, England is very exciting says Brent. Brent and Elizabeth winter in their home in Mexico. The architecture, the people, and the light keep enticing Brent back there, “I find Mexico helps my creative juices start to flow when I’m there and I love the color of the light.” says Brent. Brent’s watercolours, acrylics and oils have been well received by many corporate and private collectors in over 30 countries of the world. Brent has had exhibitions in New York, Tokyo, Germany, Belgium, Holland, many parts of the U.S.and most recently Mexico. His work has won him numerous awards throughout Canada and the U.S. But the important thing is, as Brent points out is not the awards, it’s how it makes you feel putting your feelings on paper or canvas so that the persons observing can experience the joy you had in painting that particular artwork.?“If you can make that connection with someone it feels great inside” he says. Continuing to explore new ideas and approaches to painting, he is never happy to stay in one place creatively. And his work continues to grow and mature as he pushes his creative boundaries. “It has been a bumpy ride over a long period of time to arrive at this point. I liken it to the uncertainty of Charles Lindberg’s quest to be the first flyer to wing his way across the Atlantic. You get the plane off the ground – somewhat of an accomplishment in itself – and reach an altitude where you feel everything’s under control. But then there are a series of mechanical concerns or foul weather systems that constantly test your mettle and cause you to question the wisdom of your choice to set such a lofty goal. And wherein I haven’t landed my plane successfully yet, at least I’m still aloft, and the propeller keeps on churning! While there has been – and I suspect will continue to be – constant hurdles to overcome, I have been extremely fortunate. It has not been all that difficult to keep a positive outlook towards my work. When a new blanket of snow smothers the countryside, I am inspired. When the azaleas and rhododendrons burst into bloom in my garden and my Koi fish reappear, I’m keen to paint. The angles of branches in a forest or the way the light streams through them can cause me to rush to my studio. A weathered fence, a golf green, fish boats in a harbour, intriguing architecture, waterfowl on a pond: all or any can move me to paint. And when I am painting, I am happiest.”
Rovi Jesher Salegumba
Biography:
Rovi Jesher Salegumba. Is a Phillipean painter and a graduate of the University of the Philippines College of Fine Arts. Jesher has already defined a style that won him first prize at the 2006 Shell National Student’s Art Competition (oil/acrylic category)
Rovi Jesher Salegumba. Is a Phillipean painter and a graduate of the University of the Philippines College of Fine Arts. Jesher has already defined a style that won him first prize at the 2006 Shell National Student’s Art Competition (oil/acrylic category)