Contemporary Artist from Sweden
Painting is like silent poem, said Simonides, poet from ancient Greece.Paintings are icons, doors to the Platonian world above the heavens. Paintings on my blog are just those icons, which lead a viewer into the magic world of harmony and beauty. Artists who present their achievements on my blog have a very different cultural and national background, they represent variety of artistic traditions and schools
Pery Burge - Abstract Photography
Pery Burge (1955 – 10 February 2013) was an English artist who, during the 2000s, worked with abstract images using ink in water or ink on paper, invoking natural processes such as surface tension driven flow, gravity, turbulence, rotation and erosion.
Born Peronel Burge, she grew up in Launceston, Cornwall.[citation needed] Pery's first main interest was music, she played the piano and violin. During this time period she was also involved with scientific experiments with direction from her father. Burge developed an interest in art during her early teenage years, and was inspired by a book her mother had given her called You Are An Artist by Fred Gettings (1965). In 1972 she attended various schools before she obtained a music and art teaching certificate from Gipsy Hill College, Kingston. She continued her education at the Gipsy Hill College, Kingston to complete a Bachelor of Arts degree.[citation needed] Gipsy Hill College merged with Kingston University in 1992.
In 1992, she had developed RSI, which she had to modify her artistic practices in order to continue with Art. Pery Burge continued her education in Graphic Arts and Illustration at Anglia Polytechnic University and obtained a Certificate of Higher Education Pass in 1994.In 2006, Pery Burge developed a new brushless art technique, which lead to experimenting with moving substrate. Burge found that ink in water, when using different surface tension, gave a colorful flow and movement, which she calls "Inkplosions".* Once this technique was mastered, Pery began photographing the sequences of the changing flow. Thus creating color variations that could be controlled by the surface tension. She presented her work at the 12th International Symposium for Flow Visualization(ISFV12) Göttingen, Germany, 2006.Wikipedia
Born Peronel Burge, she grew up in Launceston, Cornwall.[citation needed] Pery's first main interest was music, she played the piano and violin. During this time period she was also involved with scientific experiments with direction from her father. Burge developed an interest in art during her early teenage years, and was inspired by a book her mother had given her called You Are An Artist by Fred Gettings (1965). In 1972 she attended various schools before she obtained a music and art teaching certificate from Gipsy Hill College, Kingston. She continued her education at the Gipsy Hill College, Kingston to complete a Bachelor of Arts degree.[citation needed] Gipsy Hill College merged with Kingston University in 1992.
In 1992, she had developed RSI, which she had to modify her artistic practices in order to continue with Art. Pery Burge continued her education in Graphic Arts and Illustration at Anglia Polytechnic University and obtained a Certificate of Higher Education Pass in 1994.In 2006, Pery Burge developed a new brushless art technique, which lead to experimenting with moving substrate. Burge found that ink in water, when using different surface tension, gave a colorful flow and movement, which she calls "Inkplosions".* Once this technique was mastered, Pery began photographing the sequences of the changing flow. Thus creating color variations that could be controlled by the surface tension. She presented her work at the 12th International Symposium for Flow Visualization(ISFV12) Göttingen, Germany, 2006.Wikipedia
Isaac Witkin - New Generation of sculptors - Abstract Sculptures
Isaac Witkin internationally renowned modern sculptor, was born in Johannesburg, South Africa on 10 May 1936, and he died 23 April 2006. Witkin entered Saint Martin's School of Art in London in 1957. Studying under Sir Anthony Caro and alongside other luminaries in training such as Phillip King, William G. Tucker, David Annesley and Michael Bolus, Witkin learned and helped create a new style of sculpture that led to their being called the New Generation of sculptors when their innovating abstract forms of modern sculpture reached and changed the art world. Witkin's work, abstract works of usually brightly colored fiberglass or wood, in particular was noted for its "witty, Pop-Art look".
"Isaac Witkin rejected the idea that the human figure is necessary to sculpture, and instead explored abstraction in his work. The sculpture consists of welded steel plates painted bright orange. Each plate has an irregular geometric shape, some straight and rigid and others elegantly curved. The sheets slice into one another, delicately balancing on precise contact points. Their sharp edges pierce the space around them, as if Witkin is not only carving the sculpture but also carving air. The overlapped and stacked forms allow for a constantly changing play of light and shadow, assuming different configurations based on the viewing angle. Witkin had a consistent interest in how the scale of a sculpture can be determined by its relationship to the human body. He once stated that “I aim to establish a freedom to move in multiaxial space in a way that draws the spectator in and around the sculpture to experience different aspects of an evolving dynamic.”
"Isaac Witkin rejected the idea that the human figure is necessary to sculpture, and instead explored abstraction in his work. The sculpture consists of welded steel plates painted bright orange. Each plate has an irregular geometric shape, some straight and rigid and others elegantly curved. The sheets slice into one another, delicately balancing on precise contact points. Their sharp edges pierce the space around them, as if Witkin is not only carving the sculpture but also carving air. The overlapped and stacked forms allow for a constantly changing play of light and shadow, assuming different configurations based on the viewing angle. Witkin had a consistent interest in how the scale of a sculpture can be determined by its relationship to the human body. He once stated that “I aim to establish a freedom to move in multiaxial space in a way that draws the spectator in and around the sculpture to experience different aspects of an evolving dynamic.”
Fateh Moudarres
Fateh al-Moudarres (1922–1999) was a Syrian painter and one of the leaders of the modern art movement in Syria. Moudarres studied at the Accademia di Belle Arti in Rome, where he was influenced by Surrealism. After he completed his studies, he returned to Syria where he grew and honed his skills under the auspices of long-time friend, mentor, and tutor Wahbi Al-Hariri.
Growing up Fateh Moudarres spent much time in the countryside, but the agricultural crisis of the 1960s forced him to relocate to Damascus. The city at that time was experiencing a period of unprecedented growth and fast becoming an increasingly cramped and hostile environment in which to live. These conditions were compounded by the political and social unrest sweeping the Arab World. Against this backdrop Moudarres, along with several his artist contemporaries, often sought to depict the everyday people and the problems they encountered. He was especially moved by the life of ordinary people in the Syrian countryside. For them, what on the surface which can often incorrectly be characterized as an idyllic existence was in fact a way of life marred by problems caused by social upheavals. The present composition depicts the life of the simple peasants, showing the country bride and wedding party. In such a scene one might expect to see joyful celebration, but instead there is a palpable aura of sadness, as Moudarres reveals something of his feelings about suffering and helplessness of these women in the rural areas.Wikipedia
Growing up Fateh Moudarres spent much time in the countryside, but the agricultural crisis of the 1960s forced him to relocate to Damascus. The city at that time was experiencing a period of unprecedented growth and fast becoming an increasingly cramped and hostile environment in which to live. These conditions were compounded by the political and social unrest sweeping the Arab World. Against this backdrop Moudarres, along with several his artist contemporaries, often sought to depict the everyday people and the problems they encountered. He was especially moved by the life of ordinary people in the Syrian countryside. For them, what on the surface which can often incorrectly be characterized as an idyllic existence was in fact a way of life marred by problems caused by social upheavals. The present composition depicts the life of the simple peasants, showing the country bride and wedding party. In such a scene one might expect to see joyful celebration, but instead there is a palpable aura of sadness, as Moudarres reveals something of his feelings about suffering and helplessness of these women in the rural areas.Wikipedia
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