'All actions have magickal reactions'
☁ PILAR ZETA
Tuesday 21 August 2012
Monday 20 August 2012
VESNA BURSICH
VESNA BURSICH was born in Turin in 1974.
From a very young age, she consistently devoted a large portion of her time to drawing and painting, creating an intimate and almost secret relationship with her works and trying to seek in shapes and colours the expressiveness that words failed to match. Her interest and her need to observe grew stronger toward any kind of visual art, from15th-century classical painting to contemporary art.
After completing her Restoration Studies, in 1998 she graduated in Painting at the Accademia Albertina in Turin. Attracted by different descriptive forms, she can skillfully face oil painting on canvas as well as digital processing or other experimental forms making her work a multifaceted experience.
Her research is directed towards the representation of those emotional states affecting also her life course.
Although her works are not always immediately understandable, they will make your eyes lingering to observe, moving a memory deep in your heart, a memory that could be a question or an answer, a suggestion or a blame. A meeting or a confrontation, direct, fearless and honest.
☁ VESNA BURSICH
Thursday 2 August 2012
TOKUJIN YOSHIOKA
TOKUJIN YOSHIOKA /// SNOW /// SENSING NATURE
Feathers in tank @ the Mori Art Museum.
☁ TOKUJIN YOSHIOKA
THOMAS DEVAUX
THOMAS DEVAUX
"Thomas Devaux has authored several complex and ambitious series. In each of them one can find a subtle but strong game of jousting played out between his core values and the evolutions brought about by modern technology. The inflammatory value behind the photography is not so innate. It is more a direct effort meant to mirror a fragment of a future re-composition.
........The works in the “ATTRITION” series were selected according to their composition and their figurative will. This is a double articulation between what is borrowed and that which is a reinterpretation on one hand and an axe in art history on the other hand. “ATTRITION”, thanks to the expanded possibilities of digital techniques of which I have become very experienced, shows a n affluence of forms and materials such as an organic proliferation of hair, of body parts, etc. The portrait becomes a division of a face created by itself or vanishes in its own contour. The development material, though shadowy and opaque, is light and see-through. It raises the texture of the paper which allows for an automatic refinement of the forms and pigments.
........The final result is both sensual and onirique in the in the very image of the models that Devaux photographs in the backstages of fashion shows. They allow him to grasp the pictorial qualities which remain anchored in this field of photography. His surface does not rely upon the thickness of painting materials but rather on an artificial yet original vocabulary which is personal and photographic."
Original text by Anne Biroleau-Lemagny, General Curator Charge of Contemporary 21st Century:FRENCH NATIONAL LIBRAIRY.
☁ THOMAS DEVAUX
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