She collects books and loves each aspect of them, remembering her past as a rare bookseller. She is passionate about that and passion is not forgotten over time, it does not become waste. After a series of diferent events, I went to her apartment without knowing what her latest work was about. I saw the portraits, perfect regarding technique and I asked naively what they were made of and the answer was ashes of a human beings.
Aquel periodo que no se puede borrar ni desechar y que se recuerda a diario para que no vuelva a ocurrir. The period that cannot be erased or discarded and that is recalled on a daily basis to prevent that it happens again. The works that deal with memory began in Germany for this reason and Heide Hatry manifests them in visual art, literally. How did the idea of working with ashes arise? In Germany, by law, the ashes of a cremated person must be buried, so I had never encountered the practice of preserving, or scattering, the ashes of a loved one before coming to America.
In , while visiting a friend, I noticed a peculiar urn, which he told me contained the ashes of his wife and he showed them to me. That experience touched me deeply, both his devoted custodianship of the remains of his wife and the astonishing fact that I was seeing the residue of what had previously been a breathing, walking, thinking, feeling woman and that they were so silent, so inert, and somber, and yet so amazingly present. A couple of weeks later I learned that one of my closest friends in Germany had committed suicide.
I was shocked and I felt so guilty and despaired. Fifteen years earlier my father had died under circumstances, which, at the time, made me believe that it had been suicide, and the unresolved trauma of his death resurfaced as well. I remember that when the thought filled my mind I felt a strange relief settling over me. However, I engaged in an almost constant dialogue with them, often loudly and even crying. When I finished the portraits, not only my grief was dispelled, I felt that they were there, somehow, with me. As an artist, I thought that this effect was caused by the very lenghty process of making the portraits, but when a friend, whose mother had died, and with whom he felt had an unresolved relationship because it was cut short before they could know each other in depth, asked me, if I would do it for him as well, but using her actual ashes, I discovered that he also felt that calmness and comfort.
Many people who had ashes and felt that those were almost a burden, disrespected or shunted aside, were able to find comfort in the portrait through this renewed contact with what they knew was the actual person they had loved.
- Falcons on the Floor.
- Three Monkeys (Monkey Tales Book 1).
- Memories of the Ocean;
- Signatures, Inscriptions, and Markings!
- History of Seville!
- Une page à tourner (Harlequin Prélud) (Prelud) (French Edition).
- Herzlich willkommen daheim: Der Weg zu mir selbst (German Edition).
A way of giving meaning, of forcing the eyes to return and look carefully to appreciate and recall that the person was there, that their ashes can become something beautiful which is true , that graphic beauty can hide our sorrows, but help to resignify, to give another meaning, so they are unique to the one who grabs the book and recalls the story of that life.
En contraste con este pensamiento, Fornasieri considera que cuando los elementos representados se manifiestan sobre la tela lienzo. When you clasp a person in your arms, he or she adapts to your body, and suffers a modification to come into contact with you. As long as this can be a common position for many artists, in the formal point of view and the contents each author always reaches a different result. This also occurs when the representation concentrates or focuses on something terrible, which in real life would produce panic.
This vision takes us to the conclusion that in painting there is no truth even when it proposes dramatic themes that come from the real world. In contrast to this idea, Fornasieri considers that, when the represented elements are manifested on the canvas with their. She poses to shorten as much as possible the gap between the objective data of the model —her being in the world— from the personal and unmistakable reading of the artist.
En las vistas de ciudad hay en primer plano ramas, cables, andamios que se entrelazan. Las mismas plantas parecen forzadas a lidiar en un espacio limitado. A pesar de que los objetos o elementos sean a menudo dispuestos en un lugar abierto, se advierte a su alrededor la ausencia de espacio vital. Whatever are the themes of her pictorial cycles, it has to do with the urban views, interiors of an apartment, family, landscapes, chickens, pigs, rabbits, and a plant covered with snow. A condition of constriction and solitude is manifested in them. The common feature of these cycles is in fact the presence —once manifested and evoked— of grilles: the enclosure from which one cannot escape.
We have the perception that Fornasieri paints the immobilized lives of lonely people, animals and entire communities. For instance, grids or nets behind chickens and corrals in front of cows that have a punctured mark on their ears. In the foreground of the city views there are branches, cables, and scaffolds that are intertwined. The idea of the entrapment immobility can also be noticed in the road traffic of a crowd crushed in a tramway. Plants seem to be forced to deal with a limited space. Although objects or elements are often arranged in an open place, you can notice around them the absence of a living space.
In these paintings, a sense of solitude always emerges and is characterized by silence and a light that never damages the canvas, but it rests on the scene of the artwork with this fear of altering the balance. These paintings show the existential condition of an artist who also sees beauty in imperfection and caducity. Personalmente les advierto una tenaz y testaruda fe en el hombre, una forma de espiritualidad no gritada pero siempre presente, que se manifiesta en el silencio y en la luz que envuelve los elementos. The narration emerges from the combinations, the incidence of light, the prospective cut, the quick brushstrokes, and the signs that are now covered and obtained because of the subtraction, scratching the masses with the back of the brush.
Fornasieri faces a challenge that has never ceased to be heard by artists: making the observer to notice the same sense of truth that the artist experienced. Curadora de arte Argentina. In traditional societies, myth represented the absolute truth about primordial time and our origins. But myth has not only proved to be a path to creation but also to the relation between men, art and landscape; for each man inhabited a territory and retold his stories and traditions through portraying his homeland and rituals through painting, sculpture, imagery and many forms of art.
Allison Janae Hamilton was born in Kentucky and raised in Florida. Even though she is currently based in New York City, she still develops most of her work in North Florida and in the rural flatlands of western Tennessee and maintaining her connection to the rural American South. Her production comprises photography, installation, sculpture and video, a media that is slowly becoming a relevant part of her oeuvre.
Allison began taking photographs while she was a teenager, exploring the connections between the making of place and the making of self. In the year she began to work as a contemporary artist and transition to making art full time as a life and career while she was an artist in residence at Rush Arts Gallery, New York. The series included installations of furniture, parlor knickknacks, various curiosities and taxidermy pieces in dialogue with these photographs that have a halo of spiritual stamps.
Kingdom of the Marvelous gathered a lot of attention as several of the works participated of shows within the US and were featured in publications. I like to employ a sort of pseudo-encyclopedic practice of collecting found items and installing them along with my own handmade power objects to disrupt their everyday function.
But her latest Series Sweet Milk in the Badlands distinguishes from these pieces as the connection between the subjects portrayed and the landscape is captured in another level. In these works the environment is certainly more present. Este aspecto es de gran importancia ya que permite al espectador crear en su propia mente las circunstancias e individualidades de cada imagen y no guiarse por los arquetipos de la memoria colectiva.
As if almost we could represent ourselves in each of them as part of an epic myth within these bucolic lands. This aspect is of great importance as it allows the viewer create in his own mind the circumstances and individualities of each image and not lead himself by archetypes from collective memory. The use of masks, often from animals, hides infinite possibilities, a silence, or a pause that leaves a story open ended and centers the artistic practice on imagination in order to meditate on disruption and magic in the mundane routines and rituals of countryside life.
The Land of Milk or Honey is part of her recent research with video media. In this work, a divine character rides horseback through a beautiful yet unfertile landscape of sand, sea, and sky. The riding figure seems fierce and decisive yet fragile for moments. In the video, the palette of colors and type of image marks a difference from the previous production from Allison. A light landscape surrounded by ocean opens way from the foliage photographs from the other series showing a matured concept. The Land of Milk or Honey focuses on the southern landscape, a key protagonist to African American story, that as the artist explains, is not only geographic, but it is social, economic and political.
Let us not forget that landscape is what also helps to construct an identity in our visual imaginary. In this case, the southern. A territory full of myths and witness to real events and tragedies, historical and contemporary. Licenciada en Artes Visuales Chile. His first approach to the artistic world was not academic, but it was more unconventional.
- Ethik in der Soziologie (German Edition);
- Geotechnical and Geoenvironmental Engineering Handbook;
- Buscando a las Musas Perdidas: “Elogio de las Bellas Artes” de Gaspar Melchor de Jovellanos.
- Heart of a Thief (Mills & Boon Intrigue).
Nonetheless, the artist works and dominates in the same manner the techniques previously mentioned. As a starting point for his artwork, he suggest the idea he wants to say, and then he chooses the materials and color palette. At first glance, the materials that he uses are simple or easy to include during the process of an artwork, but the reality is that not everything always works. The people and the hustle and bustle of Mexico City, including the diverse techniques that he has learned throughout his career, are an inspiration to the artist when he has to work.
He also collects diverse local iconographies and social realities that he incorporates in his own artistic imagery. According to this versatility of techniques, he is hard to classify in some sort of movement or particular style due to his many ideas. You can distinguish notions of realism, concepts of graffiti and informalism and even something from the pop art.
The closest references that he has at the moment are Nikolas Gambaroff and Mark Bradford due to the handling of the printed material. El artista busca que sus piezas contengan literalmente un trozo de la urbe que lo rodea. From the multiple materials that he has used, his favorites are oils and drawing because of the duality that they have regarding the complex and the simple.
Recently, he has been working with materials that come from his immediate environment or that are close to his house or workshop. For instance, he uses newspaper for the collage, using current news or advertising posters from Mexican DJs and entertainers that he finds on the streets. The artist looks for pieces that literally contain a fragment of the city that surrounds him.
Con esta simple estrategia logra dirigir la mirada a las ideas que componen al personaje. Generally, David works directly on canvas using some reference images for his portraits or drawings from his notebook, because he pretends to give his artworks a certain visceral and gestural character.
Sometimes, he is inspired to create his own portraits, leaving the image of magazines or catalogs behind and obtaining new results. Most of them are portraits, whether of men or women, that question the observer. They call the attention due to their color range, in general they are quite old-fashioned like ocher and various shades of brown, but sometimes he uses an external color in this range that helps him to highlight some detail that the artist considers relevant, by using this simple strategy, he is able to lead the observers to the ideas that compose the character.
They tell their own story through the diverse images and materialities that the artist uses. They are people with whom it is easy to be identified. The graphic and oil design gives the necessary realism in order to identify the face. The rest of the techniques are useful to exacerbate the information or characteristics from each one of them. David nos muestra que no hay material, por muy simple y ordinario que parezca, al que no se le pueda sacar provecho y mostrar la inmensa riqueza que posee. Su cuerpo de obra representa la dermis social de su ciudad de origen. David shows us that there is no material, no matter how simple and ordinary it may seem, that it cannot profit and show the immense wealth it possesses.
He is an artist that, though he has a constant combination of styles and techniques, achieves a very particular personal touch. He shows us faces that communicate and generate bonds, either because of their individual story or because of the work that each one of them requires. Those are portraits that are trying to tell us something through their multiple iconographies and treatments, even though they present corrections and differences. The body of his artwork represents the social dermis of his hometown.
Periodista Chile. Representado por Mark Hachem Gallery. Siempre ha sido viril, eso no ha cambiado en nada. Es su escultura la que ha bajado a nuestras calles, es una estatua que ha recuperado su movilidad. The photographs show, in fact, how courage, pride and elegance have been preserved intact in him to this day. It has been able to do that thanks to the plastic and artistic work of Emre Yusufi, a Turkish artist who has dedicated the deepening of his knowledge to the photographic intervention, color work, design and art direction.
As a result, the observer is able to have access and interact with a demigod of the Olympus and not precisely through a historical painting that situates and contextualizes it in the past. His agenda has been particularly busy since he managed to get off the pedestal that held his figure in Piazza della Signoria, in Florence and, as if he had lost a lot of time, he decided to fill his agenda with activities.
By means of a research and photographic intervention, Emre is able to create a bond that turns a sculpture by Baccio Bandinelli into temporal counterparts, with the Roman urbanization of the 21st century, among others. Thereby, a motionless sculpture that is in a permanent state of contemplation comes to life and challenges the interpretation of a smart observer to create a question whose cultural repercussion could transform the idea of power, divinity and meaning into a matter of contingent concern.
Despite of that, practically, Hercules simply tries and experiences something; he becomes an apprentice of the experience in the great capitals of Europe in the year If you want to see him, you have to visit him because he is not able to move to where you are. I think of this irony and wonder, what would happen if Hercules could abandon his immobility? Esto es, en parte, obra de la capital del arte a nivel mundial. It is able to leave its legacy to artists who come from all over the world to establish themselves in order to start a career in the pictorial, plastic, sculptural field and more.
Full text of "Zurbaran"
It is related to Florence and its outstanding cultural legacy that turns each street into an inspiration for those who seek through the work of the human figure and art in its multiple expressions, a space where sense, talent, and technique merge to start an artistic argument. This is the case of Emre Yusufi, whose years on the streets of Florence searching for the bases of his work in the plastic arts led him to question the points of view, perspectives, and the mood of those motionless sculptures, that guarded the city in its broadest meaning: the mythological, physical, and argumentative.
Not only David, Bacchus, and Neptune have their place there, but also Heracles. Emre simply became accustomed to walking between great characters in history. In every corner where he was looking for a place to sit and draw, someone was physically accompanying him in his work. Those great figures or characters shared the space of our century with him without being able to intervene directly, but without doubt, contemplating each of his strokes and movements.
Why are they there without being able to enjoy what he does? That is the question that marked the before and after in the beginning of his series with Heracles as the main character. And Hercules is the only demigod who mixed the skills and abilities on earth with divine powers. He is the chosen one to lead a project where a character, which was immortalized in sculpture, came as a guest to live by the rules of the urban life from the 21st century.
Si iba a hacer las cosas que nosotros hacemos, de la manera en que lo hacemos, debiese sentirse como un humano. Why did you choose Heracles? The main motivation was to add a god to our present life. I wanted an officially accepted god, known and praised by man. What are you going to do with him? Give him the possibility to share with us. He could do whatever he wanted as humans do.
Therefore, which god would you choose? If he was going to do the things we do, the way we do, he should feel like a human, and that led me to the only demigod that exists, the son of Zeus and the son of a mortal mother, Hercules. Una sorpresa casual. What happens to Hercules on the streets? Y, en este caso, el modelo de las escenas casuales es realmente sorprendente.
In this case, the model of the casual scenes is really surprising. How do you get it with that avidity? By mixing an artificial shape with a real photograph; it sounds easy but it requires experience and expertise. You need to know the 3 basic concepts of plastic arts: light and dark, perspective and color. As you may have wondered, the final work is a multimedia, a digital construction, but it is based on the basic principles of plastic arts. Amo entretener a la gente. Mi objetivo principal es poner una sonrisa en la cara de todos los espectadores de mis obras.
What does Hercules generate on the streets and Emre along him? I love to entertain people. My main goal is to put a smile on the face of all the observers of my works. I also like to confuse them with my technique. The inevitable and most frequent question regarding my artworks and exhibitions: can you explain how did you do this? Finally, children are an important percentage of my fans. I believe that if a 4-year-old kid understands and loves your work, everyone in the world can also do that.
I see exhuberant subjectivity, a universe that owes much to the literature, to the pulse of the earth, to the space of dreams, to the disertations on filmmaking and to the dance of men on earth. Ese texto lubrica libertades y destila honestidad en potencia. Sus textos son como los ensayos de Borges, las prefiguraciones de Lezama Lima o los acertijos de Alejo Carpentier en su amaneramiento denodado al definir el concepto de lo real-maravilloso.
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Los signos de su discurso se alimentan de esas fuentes sin que por ello sea del todo consciente de esto. This text is filled with freedom and distills honesty in potency. This because Pedro is not common with the mayority of artists, a reflection behind his very work: the work multiples and reproduces him in the specular dynamism of which those great writters spoke so much about.
The signs of his discourse feed from those fountains without his being altogether concious of this. Is there, in part, that magic in his work is produced. Pedro is, above all and before anything else, a great narrator, an illusionist, a crafter of dreams, a teller of passages and things. His work tells stories, the stories that the maelstrom of everyday life burries under the shadow of a crushing rationality that is oblivious to what really matters. Pedro apuesta por unos valores de autenticidad que hoy resultan vestigios de un tiempo anterior de gloria.
Es, incluso, un fundador de escuela. Conozco artistas, hoy maduras, que pasaron por sus manos y se agrupan en el contexto de sus mejores amigos. These literary phantasms transit his proposal dwelling on the other side of each surface, whisperiing to those ears that listen to noise and not voice. The work thus becomes, by itself, a tale of that moment of going astray. Pedro bets for values of authenticity that are nowadays the remains of a past of glory.
He is even the founder of a school. I know today mature female artists that underwent his hands and that are grouped in the context of best friends. Something that, besides the work itself, I celebrate both as a trophy and as virtue. Castrortega now enjoys a range of efficiency that not all artists cultivate: he founded, for himself and for the collective imaginery, the rigor of a poetics. He has known how to manage, from the most absolute intimacy and honesty to himself , the signs of an extremely personal and proper alphabet.
I could visit all those museums and galleries in this world and would not be capable of confusing one of his pieces for that of another author. I knew his work by accident at Theredoom gallery in Madrid. I then became obsessed by the ide of having thought of him of a non western artist. When I enterd the gallery and saw his work, I thought he was a cuban, latinamerican or even african artist.
My education in the visual world deeply responded to the force those imagineries had on my subjectivity. However, I later discovered it was a mistake, that he was is a man of Manchego, tanned by the sun reververating over the horizon where Cervantes lived, installed in the drama of his love and his rejection.
This reconciled me with that possibility of understanding art and life disconnected from any contextual limitation, emancipated from the tyranny of labels. I had, before my eyes, the work of a spaniard artist that, placing traps for my thought, made me go on a voyage to those places that some boring culturologists have wanted to label once and again as lateral, peripheral and subordinated.
This is how I connected, now forever, with that grammar of signs and tales that are eternalized in the emphatic surface of each piece. Era consciente de que, en lo adelante, mi letra y su obra iban a comulgar. I could corroborate, in the end, that this was really anything buy a sterile artist, so abundant now. And this certainty ranks among the things I enjoy the most.
The day to visit his workshop finally came, and I was breathless before his fascinating work.
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And this fascination is not due, in his case, to the excessive accumulation of many pieces, but to his depth of thought and limitless fabulation that one can discover in the perimiter limited by those four walls. I left in the conviction that I had been, a great privilege indeed, in the workshop of a great artist and human being. I was aware that, henceforth, my words and his work would converge.
I know, I know every well that life would summon us on that wonderous crossroads that only exists between the work of an artists and the discoursive juggling acts of the critic. Not all dreams are broken. Hoy vuelvo sobre su obra con mi letra y me contenta el poder hacerlo siempre.
Today I turn back over his work with my words and am happy to be able to do it always. Art exists in its literary certification and regarding this, precisely, I have no doubt whatsoever. Madrid, apart from being known as the capital of Spain, is a city with a dense bohemian life. From literary authors who seek inspiration to ordinary citizens who are pursuing a drop of distraction, everyone finds their place in the night of Madrid.
Lo particular de su obra radica en la mezcla que hace entre lo elevado y lo cotidiano,. The particular thing of his work lies in the mixture that makes between the high and. His work, which uses everyday elements with techniques such as painting, seeks at the same time to entertain the observer and criticize the hypocrisy present in the powers that be. For instance, the support Abraham uses for his paintings: slices of whole wheat bread. For him, there was an internal need to express rejection to this type of hypocrisy practiced by the most powerful ones.
The result was a non-aggressive criticism that was quickly shown to the public. However, making a conclusion of a painting can lead to a slow course; the creative process is not always uniform. The narratives that the artist has developed started in the abstract pole of representation. Nowadays, craftsmanship is what catches the eye of the artist, or rather the job that craftsmen grant to their work. This has led him to work in tailoring, a platform where he can apply the techniques taught by the masters of craftsmanship.
This aptitude must be oriented not by the thirst for glory, but by the mere fact of making art. In relation to talent and work, Abraham believes that both properties must be complemented to bear fruit. Humbleness is also another main factor in the vision of this artist. According to him, the artistic scene in Europe is in a state of bewilderment which is product of the vanity and narcissism that gallery owners and merchants have inoculated in young people, who are new in the world of art. Considering this reality and looking at the artistic production from an organic relationship between play and representation, stands as an alternative to the cooling of creativity.
Licenciada en Artes Chile. Representada por Aereus Contemporary Gallery. Revised ed. Ars Hispaniae, Vol. Madrid: Editorial Plus Ultra S. Anthony, Edgar Waterman. Romanesque Frescoes. Princeton: Princeton University Press, Allen, Josephine L. Walter W. Connoisseur Magazine. Madrid: Espasa-Calpe, I b [misidentified in caption as cat. Randall Jr. A Cloisters Bestiary. Ainaud de Lasarte, Juan. Spanish Frescoes of the Romanesque Period. New York: New American Library, Romanesque Painting. Compass History of Art.
New York: Viking Press, New York: McGraw-Hill, Demus, Otto. Romanesque Mural Painting. New York: H. Abrams, Young, Bonnie. A Walk Through The Cloisters. Baetjer, Katharine. Compass History of Art. New York: Viking Press, New York: McGraw-Hill, Demus, Otto. Romanesque Mural Painting.
New York: H. Abrams, Young, Bonnie. A Walk Through The Cloisters. Baetjer, Katharine. Madrid: Alhambra, L'Univers des formes, Vol. Paris: Gallimard, Sureda, Joan. Madrid: Alianza Editorial, Rome: Istituto della Enciclopedia Italiana, Benton, Janetta Rebold. New York: Abbeville Press, Cahn, Walter. Barcelona: M. Moleiro Editor, Las tablas flamencas en la ruta Jacobea. Wixom, William D. Romanesque Art Guide. Barcelona: Museu Nacional d'Art de Catalunya, Norris, Michael.
Medieval Art: A Resource for Educators.