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Painting is silent poetry, and poetry is painting that speaks. Simonides

Giuliano Tamburini



Giuliano Tamburini nasce a Pesaro nel 1958, dove consegue il diploma all`Istituto Tecnico Commerciale. Inizia a dipingere giovanissimo da autodidatta prediligendo il tema del paesaggio, realizzato prevalentemente ad olio e tempera. In seguito, lo studio dei classici lo conduce alla scoperta dei forti contrasti tra luci ed ombre e alla grande forza espressiva del Caravaggio; alla raffinatezza, nel racconto del quotidiano, delle opere di Vermeer e la grande suggestione dei paesaggi di Turner che, specialmente nelle opere veneziane, esalta la qualità espressiva dell`acquerello.

Il percorso formativo prosegue poi con l`approfondimento delle varie tecniche artistiche presso la sede di scuole ed istituti d`arte riservando una particolare attenzione allo studio dell`acquerello, alla scultura e al modellato. Nello stesso momento approfondisce la conoscenza dei vari movimenti del XX secolo avvicinandosi progressivamente all`arte contemporanea.

Nelle opere recenti è prevalente l`uso della tempera e dell`acrilico con applicazione della foglia d`argento. La stesura del colore è ora eseguita, accanto ai modi tradizionali, con mezzi diversi quali l`aerografo e varie tipologie di strumenti artigianali. Nel 2002 approda ad una pittura di comunicazione sociale e di grande impatto emotivo. Nell`ottobre 2004 ha presentato un ciclo di lavori sul tema dell`infanzia violata.

Dal `94 ad oggi ha partecipato a numerose collettive e personali in Italia e all`estero riscuotendo l`interesse della critica, conseguendo diversi premi e riconoscimenti.




















Giuliano Tamburini was born in Pesaro in 1958 where he obtained his high school diploma in accountancy in 1977. He started painting at an early stage and is self taught. He chose the landscapes as his favourite subject using mostly oil or tempera.

The study of the classics led him later to discover the deep contrast between light and shadows used by Caravaggio to intense expression, by Vermeer, in refining portraits of everyday life and also by Turner in the great suggestivity of his landscapes and in particular in his Venetian works enhancing the intensity of the expressive quality of watercolour.

Tamburini pursued his artistic studies in order to widen his knowledge of different techniques in various schools and art institutes, with special attention to the study of watercolour, sculpture and modelling. At the same time he acquired more indepth knowledge of various XXth century movements getting progressively closer to contemporary art.
In recent works tempera and acrylic prevail, the latter being applyied by silver leaf.

As well as the traditional way of painting, G. Tamburini now paints through different means, like the airbrush and other kinds of handicraft instruments.
In 2002 he started painting works inspired by social communication with deep emotional impact. In October 2004 he presented works representing violated childhood.

Since 1994, Tamburini has taken part in both private and collective exhibitions in Italy and abroad, gaining the interest of critics and achieving many awards and merits.

Salman Toor









Born in Lahore, Pakistan, 1983
Lives and works in Brooklyn, New York

EDUCATION
2009 Masters of Fine Art (Painting), The Pratt Institute, Brooklyn, New York
2006 Bachelors of Fine Art (Painting and Drawing), with Honors, Ohio Wesleyan University, Delaware Ohio











I am Pakistani but I like to use a visual language which does not belong to my cultural heritage. My work has the air of sturdy, varnished nineteenth century history painting and portraiture. The illusion that it belongs to a particular point in history is a simple guise that I use to approach the complexities of my own life. I distance myself to find a parallel in something epic and beautiful. My work employs the painterly conceit of setting characters on a stage and making them act, to freeze frame a moment full of psychological potential.

Most of the depicted scenes are dark interiors with the air of illicit privacy. The interiors are populated by one or two figures at the most. A recurring theme is the global icon of the Muslim cleric.

Youth and the Cleric is based on the Composition of Degas’ Rape. A room is lit in the center by a yellow rice paper lamp. The lamp rests on a small and low table and casts ominous shadows across the room. On the left, close to the table, is an adolescent boy, seated on a chair with body facing the viewer. He hurriedly puts on his blue Shalwaar, elastic pajamas which are part of the national dress of Pakistan. The boy is otherwise naked and fair skinned. The warm light from the lamp beautifully models his body and the shalwaar.

With his profile lit perfectly by the lamp across from him, he casts an anxious glance across the room. He is looking at an old muslim cleric. The Cleric leans slightly against the wall to the right of the composition. With one hand he holds on to the golden door knob behind him. His beard has streaks of grey and henna. His shadow towers from behind him menacingly toward the ceiling into an amorphous cloud. With his face lit from below, he looks at the viewer with a tentative expression, as though he has been caught in a compromising position. His lips are parted to reveal coarse teeth. His black coat is unbuttoned and his shoes are missing. One of his feet is cut off by the edge of the composition, breaking with the perfect stage set format of history painting.

Other compositions seem to be derivatives of this one. In Cleric Undressing, the viewer is facing a corner of the room. There is a still life of two gold rimmed empty glasses on a table in the foreground. Lighting the glasses dramatically is a lamp which also rests on the table. Behind this still life is a bearded man in the action of removing his Kameez. On his torso he wears a blue shalwaar. His smoky shadow runs across the wall to the ceiling. On his left is a mirror on the wall. The viewer can just make out a dark figure on the side of the room omitted from the composition. The figure seems androgynous and sips on a drink from another gold rimmed glass.

Coupled with the larger compositions are 24 by 36 inch portraits. They have a more or less neutral grey background. The people depicted are young and strange looking. There are girls with big hair and shocked eyes and sallow white boys with Middle Eastern Kuffiayas around their necks. They seem to be disturbed in a moment of reflection or inwardness.






Carlos Killian







Argentine illustrator, painter and cartoonist.


Cursó estudios en la Escuela Nacional de Bellas Artes y en la Escuela Panamericana de Arte. Ha colaborado como ilustrador en diversas publicaciones de Latinoamérica, Estados Unidos y España.

Su obra ha formado parte de exposiciones colectivas e individuales en la galería Praxis, Asociación de Ilustradores de Buenos Aires, y el Instituto de Artes Gráficas, entre otros.

Durante su estadía en España colaboró en distintos medios como El Papus, El Jueves, La Vanguardia, Interviú, Cambio 16, El País, Playboy de EE.UU, y New York Times.

Es miembro de la Asociación de Ilustradores de New York.

En el año 2000 recibió el premio Yellow Kid al mejor ilustrador Europeo.



Blog










Agathe Verschaffel





Biographie

Née à Calais (Pas De Calais) le 14 janvier 1983, Agathe Verschaffel vit et travaille aujourd'hui dans sa ville natale.
Elle a commencé à peindre à l'âge de sept ans, encouragée par ses parents. Sa première exposition, qui a reçu un excellent accueil du public, a eu lieu à ses dix huit ans.
En 1995, elle part vivre en Eure et Loire (28) près de Bonneval. Elle continue la peinture en autodidacte, puis se rapproche d'associations artistiques. Elle pratiquera ainsi le croquis de nu artistique d’après modèle vivant.
En 1999 au lycée, Agathe s’oriente vers un bac littéraire option Arts Plastiques. C'est durant cette période qu'elle multipliera les expérimentations artistiques, elle y explorera diverses techniques (photographie, sculpture, installation, peinture abstraite, peinture corporelle…).
En 2002, après sa scolarité, Agathe retrouve Calais, sa ville natale. Elle partage alors son temps entre une activité saisonnière (animatrice d’enfants) et sa passion qu'est la peinture. Au fil du temps, son style va se perfectionner et se rapprocher de l’hyperréalisme à tel point que l’on confondra souvent ses peintures à des photos. Ses tableaux lui demandent souvent plus d'une centaine d'heures de travail.
Ses sujets de prédilection sont aussi bien des architectures de bâtiments, de friches industrielles, de grues portuaires, que des pièces mécaniques, comme celles des métiers à dentelles.
Aujourd'hui, Agathe continue à mettre en valeur le patrimoine de sa région. Elle a fait le choix de se professionnaliser et se consacre désormais pleinement à ses oeuvres.











Démarche créative et artistique

Agathe Verschaffel, par sa technique s’inscrit dans un courant hyperréaliste. Elle utilise l’imagerie contemporaine comme point de départ de son travail, travail qui se caractérise par une représentation figurative ayant pour thèmes nos paysages industriels et urbains. L’inspiration est photographique et le choix des thèmes ainsi que le travail sur la chromie, l’ombre et la lumière apportent à ses oeuvres une nouvelle dimension, parfois chargée d’émotion. L’artiste confirme sa personnalité par ses thèmes caractéristiques. Elle peint entre autres des usines à dentelles avec une précision quasi photographique. La mécanique industrielle la fascine également, et particulièrement celle des métiers à dentelles qui ont fait la renommée de sa ville natale. Ces éléments de notre environnement urbain prennent ainsi une dimension nouvelle, imposant leur monumentalité.

Agathe réalise sa première peinture hyperréaliste en 2006, se distinguant par sa détermination à représenter notre univers industriel tel qu’il est, loin des standards de beauté que nous dicte la société actuelle.

Dans une démarche engagée, elle cherche à nous ouvrir les yeux sur la beauté des choses qui nous entourent, ces éléments de notre patrimoine qui pourtant semblent délaissés. Son travail nous invite donc à un regard nouveau sur notre environnement urbain et nous interpelle sur notre jugement du beau.

Dans la lignée des grands noms tels Sheeler, Klasen, Becher, klapheck… Agathe Verschaffel porte son regard sur l’univers industriel qui l’entoure, attribuant à ses œuvres une vision ou la couleur est aussi bien franche que monochrome. Un regard graphique qui affirme haut et fort toute la beauté de ce patrimoine industriel.







Palmares


2009 1° prix du jury Concours national Lions ARTS VISUELS 2009
1° prix du jury + Prix du public - Concours régional LIONS Nord 2009
2007 3° prix + prix des peintres - Concours Les ROSATI
2006 PRIX YVES MERRER - Fondation L'Elite PARIS
2005 Médaille d'Argent avec mention - Académie internationale de LUTECE
2001 Prix du public - Salon de printemps des Artistes de la Vallée du Loir.



Oeuvre en collection publique

"Paris Bohème" - Palais de L'europe - Collection de la ville du Touquet Paris Plage

Tan Wei Kheng








"I travel into the dense interior and spend time time with the people of the interior known as the Orang Ulu. I study and photograph them and paint people from the Kayan, Kenyah, Penan, Kelabit und Iban communities."












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