Paul van Hulzen : ‘On the Road’ Series (Photography)

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an impression of the atmosphere of filling stations at night.

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‘On the Road Series’
Paul van Hulzen
Photograph
2010
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‘On the Road Series’
Paul van Hulzen
Photograph
2010
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‘On the Road Series’
Paul van Hulzen
Photograph
2010
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‘On the Road Series’
Paul van Hulzen
Photograph
2010
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‘On the Road Series’
Paul van Hulzen
Photograph
2010
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‘On the Road Series’
Paul van Hulzen
Photograph
2010
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‘On the Road Series’
Paul van Hulzen
Photograph
2010
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Paul van Hulzen photographs ‘places’. Besides urban locations, these can also include ‘landscapes’, interiors and even objects. He makes no fundamental distinction between a ‘natural landscape’ and a more urban environment. On the contrary, Paul believes that a built-up location or an interior can be more ‘landscape-like’ than a landscape in the traditional sense. His starting point is always the ‘spatiality’ created by human intervention. Within this spatiality, he searches for, and finds a specific beauty and an atmosphere that can be contemplative, ironic and disturbing all at once. Paul is regularly referred to as the ‘painting photographer’, and he is undeniably inspired by painters. For him, Rothko, Hockney, Hopper, Wyeth, Pollock and Armando are ‘model’ thinkers and artists. The same goes for photographers like Eggleston, Shore and Wessel, and for the filmmakers Antonioni and Tarkovsky… bio

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Paul van Hulzen : Website

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Roberta Vilić : Paintings

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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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Works of Roberta Vilić act as “fields of memory (reminiscence)“- they are places of intimate, symbolical exchange, where private perception transforms into a visual code. “The work itself is a screen of the authors interior“, wrote Janja Feric for the occasion of Roberta Vilic’s exhibition in gallery Galežnica end 2002. Evocational character of the matter transforms the painting surface into a suggestive field. In the tactile game of associations, from structure of the matter itself rise or disperse diagrams and traces. Leaving an imprint of time eroded walls and evocate a metaphorical picture of passing of time.

Moreover, Roberta’s works constitute researches of space and surface/plane, structure, matter, and material. These are abstract compositions of reduced coloring, summarized to approbation of patterns of monochrome surfaces, grey, black or white, they are close to minimalism, and they address void and surface as central figures, activating the relation between positive and negative. On the surface of the painting, layer closest to the observer, one can sense words or letters as the only reference to the world of externality, and which in subsequent elaborations and research loses its narrative character by becoming an unobtrusive symbol, and by adopting abstract character of the sign. During this sublimation process a shift is apparent, deep ponderation, which results with cumulative sense of easement of the structure, its purification and appeasement.

The new works are produced in the continuity of the author’s expression, certain form-content patterns, and visible close communication with the heritage of informell. In time we find revelations and researches of a technical nature. Alongside parts of text and letters, cuts, scratches, ruptures and gaps appear as peer elements. The author addresses them as one does a graphical matrix. These are all messages inserted in the matter and contribute its expressive power and re-evaluation of our comprehension of elementary world of matter. Without evocating objective signs and symbols by principle of tautology. By conceptualization of reduction and recurrence methods, in almost monotone repetitiveness rhythm and change are bought by minimal and discreet shifts which emphasize uniqueness of multi-layered structure of each individual work. – Extract: Branka Benčić – Marisall Gallery

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Roberta Vilić : Marisall Galerija

Roberta Vilić : More Works

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Arnold Newman : ‘Early Works’ (Photography)

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“We do not take pictures with our cameras, but with our hearts and minds.” -Arnold Newman

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‘Sink Cutout’
West Palm Beach FL
Arnold Newman
1941
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‘One Way’
West Palm Beach FL
Arnold Newman
1941
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‘Ironing Board Cutout’
West Palm Beach FL
Arnold Newman
1941
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‘Railroad Sign’
West Palm Beach FL
Arnold Newman
1941
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‘Clapboard House Montage’
West Palm Beach FL
Arnold Newman
1941
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‘Chairs On Porch’
West Palm Beach FL
Arnold Newman
1941
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“As for myself, I work the way I do because of the kind of person that I am – my work is an expression of myself. It reflects me, my fascination with people, the physical world around us, and the exciting medium in which I work. I do not claim that my way is the best or the only way, it is simply my way. It is an expression of myself, of the way I think and feel.” – Arnold Newman

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The Arnold Newman Archive

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Bernard Reyboz : Sculptures

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‘Sculpture’
Acrylic resin, Wood
50 x 42 x 20 cm
2004
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‘Sculpture’
Acrylic resin, Wood
120 x 120 x 39 cm
2005
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‘Sculpture’
Acrylic resin, Wood
100 x 100 x 10 cm
1998-99
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‘Sculpture’
Acrylic resin, Wood
53 x 53 x 44 cm
1998-99
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‘Sculpture’
Acrylic resin, Wood
42 x 50 x 20 cm
2002
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‘Tripods’
Acrylic resin
155 x 400 x 300 cm
2004
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“My attraction to pebbles was so strong that it led me to their close study. It was then translated into a series of paintings and drawings realised with the best trompe-l’œil technique my hands were capable of at the time.’ Year after year, this work on pebbles reveals itself in 3 dimensions and offers us ‘volumes covered with signs, writings, and ‘organic signs’… volumes that have become graphic mediums destined to be closer to expression, interpretation and fantasy “. Over that period of time, the object that first inspired me with mystery, patience and respect, became an invitation to play. Later, these volumes lost there signs and became “dead mineral objects”, “burnt” objects, “blackened” by the depths of the Earth and then rejected on it to create new landscapes”. B.R. – [Extract : Pebbles Series]

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Bernard Reyboz : Website

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Antoni Tàpies : ‘Color Lithographs’ (Artworks)

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“My wish is that we might progressively lose our confidence in what we think we
believe and the things we consider stable and secure, in order to remind ourselves
of the infinite number of things still waiting to be discovered…” – [Antoni Tapies]

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‘8 sobre llibre’
Color lithograph
Antoni Tàpies
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‘Untitled’
Color lithograph
Antoni Tàpies
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‘Untitled’
Color lithograph
Antoni Tàpies
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‘Envoltorio’
Color lithograph
Antoni Tàpies
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‘Lettre X’
Color lithograph
Antoni Tàpies
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‘Etiquette’
Color lithograph
Antoni Tàpies
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‘Divisé’
Color lithograph
Antoni Tàpies
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Tàpies shared a general sensibility which affected artists on both sides of the Atlantic after the Second World War and the dropping of the atomic bomb, and soon expressed an interest in matter – earth, dust, atoms and particles – which took the shape of the use of materials foreign to academic artistic expression and experiments with new techniques. He believes that the notion of matter must also be understood from the point of view of Medieval mysticism as magic, mimesis and alchemy. That is how we must see his wish for his works to have the power to transform our inner selves.

The works of the last years are, most of all, a reflection on pain – both physical and spiritual – understood as an integral part of life. Influenced by Buddhist thought, Tàpies believes that a better knowledge of pain allows us to soften its effects and therefore improve our quality of life. The passage of time, which has always been a constant in his work, now takes on fresh nuances when lived as a personal experience which brings greater self-knowledge and a clearer understanding of the world.

He’s consolidated an artistic language which visually conveys both his conception of art and certain philosophical concerns which have been renewed over the years. His practice is still open to the brutality of the present while offering a form which, despite its ductility, remains faithful to its origins. So the works of the last few years aren’t only fully contemporary, they’re also a record of his own past.

[Extract : Antoni Tàpies Collection]

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Antoni Tàpies Collection : Selected Works

Antoni Tàpies : Spaightwood Galleries

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Azurebumble : Artworks (Signs Series)

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‘danger gormleys crossing’
(signs series)
digital collage
2011

‘sculpture park’
(signs series)
digital collage
2011

‘gormleys about’
(signs series)
digital collage
2011

‘sculpture gallery’
(signs series)
digital collage
2011

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Azurebumble : Website

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