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

Claudio Sacchi













CENNI BIOGRAFICI
. Claudio Sacchi è nato a Pesaro il 19 dicembre del 1953. Ha frequentato inizialmente la Scuola d'Arte di Urbino, proseguendo poi i suoi studi presso l'Accademia di Belle Arti di Firenze. Fondamentale per la sua formazione sono stati gli incontri e la frequentazione di Pietro Annigoni dal 1973 e di Enrico Del Bono dal 1977. Dal 1977 è stato inserito nell'archivio del Kunsthistorisches Institut di Florenz per l'arte italiana del Novecento. Nel 1979 collabora con il Centro di Ricerca e Divulgazione della tecnica delle arti di Mario Donizzetti a Bergamo. Dal 1980 al 1982 ha insegnato pittura presso la scuola di restauro Spinelli di Firenze. Dal 1989 al 1992 ha collaborato per i disegni con la rivista "Firenze Ieri Oggi e Domani" edita da Newton Periodici. Dalla sua prima mostra personale nel 1977 a Firenze ha esposto nelle maggiori città italiane (Milano, Bologna, Genova, etc.) e all'estero ad Amsterdam, Monaco di Montecarlo, Nizza, Cannes, Gent. Numerosi suoi dipinti e disegni sono stati pubblicati su importanti libri e riviste. Di lui si sono spesso occupati giornali italiani con articoli di critica particolarmente positiva. Ha trascorso lunghi periodi in Inghilterra ed Olanda. Attualmente vive a Firenze, dove svolge anche una grossa attività come ritrattista, e lavora per diverse gallerie italiane. La sua pittura si basa su una eccellente capacità grafica, lungamente esercitata e rinnovata sulla memoria dei fasti pittorici rinascimentali.







BIOGRAPHICAL EXCERPTS
. Claudio Sacchi was born in Pesaro, Italy, on 19 December 1953. He attended the Art School in Urbino, and continued his studies at the Academy of Fine Arts in Florence. Major influences in his artistic education were his encounters with Pietro Annigoni in 1973 and with Enrico Del Bono in 1977, and his friendship with both artists. Since 1977 his work has been included in the archive of the Kunsthistorisches Institut, Florence, in the section on twentieth-century Italian art. In 1979 he collaborated with a Research Centre working on Mario Donizetti’s artistic techniques, in Bergamo. From 1980 to 1982 he taught painting at the Spinelli School of Art and Restoration, Florence. From 1989 to 1992 he contributed drawings to the magazine Firenze Ieri Oggi e Domani published by Newton Periodici. Since his first one-man exhibition in 1977 in Florence, he has exhibited in most major Italian cities (Rome, Milan, Bologna, Genoa, etc) and abroad in Amsterdam, Monte Carlo, Nice, Cannes and Ghent. Numerous paintings and drawings by Sacchi have been published in important books and magazines. His work has often been the subject of favourable criticism in the Italian press. He has spent extended periods in England and in the Netherlands. At present he lives in Florence, where he is much in demand as a portraitist, and produces work for several Italian galleries. His art is based on excellent graphic skills, long practised and evolved from the glories of renaissance painting.

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LA CRITICA
. "... Sacchi, pittore di formidabile virtuosismo tecnico, potrebbe sembrare subito un artista antico, invece intende semplicemente ribadire la legittimità e la piena dignità di un modo di fare arte, quello legato alla tradizione, che la critica contemporanea per molto tempo ha voluto assurdamente rimuovere dalle nostre coscienze. ..."
- Vittorio Sgarbi -

. "... C'è in lui, potente ritrattista e acutissimo descrittore di un Reale che è al limite tra il verosimile e l'assurdo, una forza di presenza della pittura in sé che potenzia le capacità visive di chi si pone di fronte alle sue opere avvertendo una sorta di stato di esaltazione mentale. Il suo stile è la migliore dimostrazione che nel campo della figurazione si può essere vivi e vegeti senza indulgere in alcuna forma di stanca rievocazione o in ostentata citazione. E' un pittore, Claudio Sacchi, che sa spiegare il senso del suo 'mestiere' aprendosi all'osservatore con la più grande sincerità ed intensità di espressione, libero da intellettualismi inutili e da sensi di colpa per la propria bravura e competenza. ..."
- Claudio Strinati -

. "... Pur apprezzando alcuni tra gli artisti contemporanei non mi era mai capitato di provare nei loro confronti quel senso di autentica ammirazione che mi hanno suscitato le opere di Sacchi. E' la prima volta infatti che mi trovo davanti ad un pittore dei nostri giorni in possesso di un talento naturale e di una tecnica paragonabili a quelli di Annigoni. ..."
- Benedetto Annigoni -

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REVIEWS
. "... Sacchi, a painter of formidable technical virtuosity, might seem straightaway an old master, yet he simply wishes to assert the legitimacy and the fully fledged dignity of a way of producing art – the traditional way – that contemporary criticism has for many years absurdly tried to blot from our consciousness. ..."
- Vittorio Sgarbi -

. "... There is in him, a powerful portraitist and most accurate delineator of a Reality that is at the frontier of verisimilitude and absurdity, a force of presence in the painting itself which potentiates the visual capacities of whoever examines his works, producing a state of mental exaltation. His style is the best demonstration that in the area of figurative representation one can be alive and kicking without indulging in any form of clapped-out re-evocation or ostentatious quotation. Claudio Sacchi is a painter who knows how to explain the sense of his own ‘craft’, opening himself out to the observer with the greatest sincerity and intensity of expression, free of useless intellectualism and of any sense of guilt about his own skills and abilities. ..."
- Claudio Strinati -

. "... Although I appreciate certain other contemporary artists, I have never felt in their regard the feeling of authentic admiration aroused in me by the works of Sacchi. It is the first occasion in fact that I have found myself in the presence of a painter of our own days who possesses a natural talent and a technique comparable to those of Annigoni. ..."
- Benedetto Annigoni -


© Claudio Sacchi












Ho Ryon Lee








B.F.A Painting Dept., College of Fine Arts, Hannam Univ.
M.F.A Graduate school of Painting Dept., Hong-Ik Univ.


2009
2007 Galerie Bhak, Seoul, Korea
AKA Seoul, Seoul, Korea


Awards

2006 The 4th Seoul Fine Art Award, Second Award
The 25th Korean Fine Art Award, Third Award
2005 The 24th Korean Fine Art Award, Third Award












Kho, Chung-hwan / Art Critique

Overlapping images and a hazy viewpoint on desire –almost all the pieces done by artist Horyon Lee are entitled Overlapping Image to present “overlapping image”. Thus, the overlapping images are the crucial elements which help to understand his paintings.

Just like overlapped images, the term “overlap” refers to the frame of the first image occupying the same area as other images. Rather than traditional paintings, photography is much more effective when expressing overlapping frames; despite the fact that the artist’s pieces are classified as paintings, they are closer to photography. In his painting, the texture of photography has been used and reproduced –we can define such style as a photo-like picture(photorealism). In reality, the artist took several photos of the model standing in a specific pose. The photos are then composed together via Photoshop, and the finalized product is painted on canvas.

In this chain of process, a step called “production” is added, giving birth to a sensitive relationship with reality. In other words, painting is the reproduction of reality; however, it is not a reproduction of accurate reality. It looks real, but a situation has been set up, and a theatrical situation has been directed; as a result, it produces a mise-en-scene, which projects a vague image about desire.

With this, Lee’s paintings show the multiple layers of overlapping. The ordinary usage for overlap is when something laps over or covers another object, but the meaning of overlap in this context is not limited in this sense. The categorization for overlap broadens out from the frame (image). When a frame overlaps with another frame (an idea brings out new idea), the meaning of the ideas overlap (an idea draws out a different meaning), then the meaning overlaps with another meaning (a meaning gives birth to a new thought), and the ideas overlap with meaning (a meaning brings out a new idea).

Even though the overlapping method can been seen and the surface condition is one top of one another, it is separated at the internal layer; thus the point is that the true meaning of overlapping is perfected, not at the external or top layer but at the internal layer, and it is not simply piled one on top of the other, but is separated (The overlapped images is the semantic representation of separation).

The subject becomes separated from the world, and with the subject as its medium, the world divides itself into idea and meaning, and that meaning is sub-categorized into another meaning.

Therefore, the world can never be reproduced on its own, but works through an opportunity where a meaning gives birth to another meaning, and we can never hold onto the ideology that all things are the same.

The explanation about the world is an act of adding another meaning to it, and explaining such meaning would just be an interpretation, adding another meaning to it. Similar to this aspect, an idea with a new idea, an idea and a meaning, a meaning with another meaning, having meanings and ideas pile onto one another, and splitting up (in reality it’s separation) the world becomes divided into idea and meaning, and so far, the idea and meaning becomes self-sufficient, separated from the world.

Thus, the external appearance of the overlapping images are piled one onto the other, but is separated in the inside, so the essential meaning of overlapping is that the perfected point is not on the surface but it’s in the inside of the overlapping images, and it’s not piled one onto the other, but is set apart. (Overlapped images are a presentation of the separation analysis.

The subject is set aside from the world, and with the intervention of the subject, the world is divided into idea and meaning, and the meaning is sub-categorized into a new meaning. Like this, the world itself can never be reemerged, and is only processed through the foothold where a meaning brings a new meaning. The explanation about the world is just an act of having a meaning added onto the world, and the explanation for that action gives birth to a new meaning – thus, the cycle of the analysis process continues.

As a result, there is a repetition of ideas and thoughts, interrelating with one another through an idea and new ideas, thoughts and meanings, meanings and new meanings (separated from the truth), and so far, the idea and thoughts have become an irrelevant self-sufficient category from the world.

Like the artist and the overlapping images, the boundary distinguishes between the meaning and meaning, the signifiant (poles) and the signifié, the images and meanings, and in particular, the reiteration of image and desire, separating the vague relationship.

In the relationship detonated from the negotiation between overlapping and the general concept, the image is interlocked intimately with desire (jointly). Then, the subject labeled image will (then) become visible (become an object) refers to the visible information.

Then, why does the main subject make the objects, the world, and the targets visible (the images)? Through an act of seeing, one throws in their desire (what you see is that you desire), making the objects, the world, and the targets visible (the images). When talking about the core points, what we see is not the world itself, but what you see is just what you want to see (or things you want to see), so it’s not seeing the world objectively, but is seeing the world subjectively. At the same time as seeing the world, you get to desire about the world. Here, there’s a harmony mediation of the sight (the viewpoint of the main subject), the gaze (the object’s viewpoint targeted by the main subject), and the confidential but open seduction and voyeurism comes out into the public, progressing towards a breath-taking psychological game. The object of seduction and the voyeurism looks like it’s leaning towards the main subject, but in reality, it should be seen as mutuality and comprehension.

In the case of Lee’s paintings, the layers of multiple meaning of overlapping is revealed, and the double and self aspects on viewpoints and gazes, seduction and voyeurism, revealing and hiding (or just hiding) is portrayed, and through them, the vague object of desire is shown. In particular, the same overlapping subject (the model) is shown as one overlapping image, and that itself is a direct prediction of the self-division of desire from the subject.

The mise-en-scene of slippers and desire. Like this, the latest work of Lee is basically a continuation of his previous works. In particular, the sensual development of overlapping is substituted as a psychological device, thus the psychological weaving of the viewpoint and gaze, seduction and voyeurism, revealing and hiding will become tighter.

A fair distance is created, distinguishing the difference between the model and the artist, and unlike the previous method of getting a close-up of the model, the method has been changed so that the model is created at the same time as the background.

Here, due to the artist, the model can be seen as an objective character or a subjective character, and like this, the ideology of making the model an object becomes clear when the close-up of the model is drawn from the artist’s point of view (here the viewpoint is desire in reality, and the artist’s viewpoint is the viewpoint of the audience, and desire is increasingly reproduced).

The distance between the model and the artist symbolizes the actual distance, and at the same time, it also represents the psychological distance. In alliance with this, the viewpoint of the close-up makes the interconnections between the object and its situation disappears (and the objects are emphasized). In reality, all objects are intertwined in a terminable relationship with another object, but once we lose that interconnection, abstraction takes over, and the real motif plunges to become an abstract object.

From this, we can understand the background and the source of the latest work of the artist, which overcame abstract and acquired reality. Thus, in his latest piece, the artist maintained a fixed distance with the model, and at the same time, created a psychological distance, so that when the model is confronted, the breath-taking desire and objectiveness changes the empty space (space sense). The law of confrontation is more lightly analyzed and applied (using the model as an object, thus strengthening the matter, but there is a deep relationship from the tension created when confronting desire) and has a connection with the truth.

The crucial point of the artist’s latest work is that it’s set in the time and space of reality, and we can consider the sensual analysis of light. Light is the main element of changing the shape of an object and its color. The light makes the model’s flickering dress sway more, softens up the model’s already soft skin, and changes the visual object into a touchable object. Even if it was not the window drawn in the painting, the elements of light in the artist’s painting are more interior scene-like (in this case, similar to Vermeer) than a luminous light, and the senses and touch from this light continue on in the texture.

In addition to the psychological factors from the overlapping images, the use of light changes the visual object into a touchable object and the sensual temperaments are added onto this, creating a new path for the artist’s desire weaving, making it more exquisite and sensual.










Jay J. Johnson












Biography

Jay J. Johnson resides in America's northeast and travels widely
across the North American continent. His family ancestry includes close
ties to the Maine woods, and the Atlantic seacoast of Massachusetts
(where he grew up on a wave-bound peninsula). His knowledge of
wildlife comes from traversing thousands of miles of American wilderness.
When he was just seventeen years of age he climbed all 48 of the
highest peaks in the White Mountains of New Hampshire, becoming the
youngest person to do so in one continuous trek. Since then he has
walked and paddled through virtually every environment in America
from mountain tops to river valleys to arid deserts. He has sea-kayaked
extensively along both the Pacific coast and the Atlantic coasts. He
has also hiked both the Appalachian Trail and the Pacific Crest Trail,
totaling 4700 miles. He has bicycled 3,000 miles across the
southwestern deserts of the United States; and driven many thousands
of miles more along western back-country roads in search of his wildlife
subjects. In the early 1980's he completed a solo wilderness trek
spanning sixteen months, covering 10,000 miles around America (featured
in more than fifty newspapers nationwide).









At Cornell University he studied both Art and Natural History, gaining
an in-depth scientific knowledge of his wild subjects while at the same time
learning the fundamentals of Traditional and Modern Art.
Working today in his studio, Johnson follows the time-honored tradition
of painting with oils on fine linen, capturing the movement, spirit and realism
of American wildlife. His paintings have become part of private collections
nationwide through western galleries in Arizona, California, Colorado,
Oklahoma, and Wyoming, and eastern galleries in Connecticut, Florida,
Pennsylvania, Maine, Massachusetts, Ohio, and Vermont.









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