sábado, 5 de julio de 2014
MIKEL GLASS
My work is often characterized by a tension between subconscious concepts and deliberate execution.
For me, painting is a vehicle with which to explore the psyche. Chance and free association are ready doors to explore one’s condition. I feel akin to the Dadaists and Surrealists in their fear of the tyranny of the obvious and the conscious.
As a consequence, I divide into two personalities when working. First is the Zen artist who comes up with the ideas in an intuitive realm. The second is the craftsman who must actually execute those images in paint. As an artist, I feel kinship with the Freudian inspired artists that modernism has unleashed. As a craftsman, I admire Rubens and Rembrandt as the ultimate executors of painting as a craft.
The greatest peril in my process is when I come up with an idea that swims in my head. . . only to realize that it may not be appreciated by others in the physical realm.
The greatest triumph in my process is when I am able to pluck a flapping image down from the clouds of the subconscious and set it firmly in paint where it is then appreciated by others.
Either way art, at its best, provides fodder for thought. It is my hope that my work acts as a catalyst for this process."
For me, painting is a vehicle with which to explore the psyche. Chance and free association are ready doors to explore one’s condition. I feel akin to the Dadaists and Surrealists in their fear of the tyranny of the obvious and the conscious.
As a consequence, I divide into two personalities when working. First is the Zen artist who comes up with the ideas in an intuitive realm. The second is the craftsman who must actually execute those images in paint. As an artist, I feel kinship with the Freudian inspired artists that modernism has unleashed. As a craftsman, I admire Rubens and Rembrandt as the ultimate executors of painting as a craft.
The greatest peril in my process is when I come up with an idea that swims in my head. . . only to realize that it may not be appreciated by others in the physical realm.
The greatest triumph in my process is when I am able to pluck a flapping image down from the clouds of the subconscious and set it firmly in paint where it is then appreciated by others.
Either way art, at its best, provides fodder for thought. It is my hope that my work acts as a catalyst for this process."
Mikel Glass
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EUSTAQUIO SEGRELLES
Nació en Albaida (Valencia) en 1936.
Realizó estudios en la Escuela de Bellas Artes de San Carlos y en la Academia de Pintura Vicente Barreira, en Valencia (1950/54).
PIERO ROI
Piero Roi, born 1971, is an artist living between London and Madrid and working with photography, video and other media. Through his work he wants to give shape to a retinal persistence that can not vanish, that is retained in a frame, the definitive registration of otherwise ephemeral events.
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“But the most serious problem [...] the one with the gravest consequences – remains the duplicity by which light causes us to have confidence in the simplicity of the act of seeing, proposing im-meditation to us as the model of knowledge whereas light itself, out of sight and in a hidden manner, acts only as a mediator, playing with us through a dialectic of illusion.”
(M. Blanchot – The Infinite Conversation)
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