Quantcast
Previous month:
August 2012
Next month:
October 2012

September 2012

Matthew Miller

IMG_1264 IMG_1264To call Matthew Miller a painter might be considered simplistic. He paints and sculpts at the same time creating relief paintings. This is because his  canvas is industrial material such as styrofoam which, when treated and painted, begins to change shape and decompose.

"The general process that I use to create my work involves painting on the polystyrene first, and then treating the painting with chemicals. The result is a piece where each mark of paint substantial enough to resist the solvents, whether it be in depth, or width of line remains at least partially on the surface while the negative space recedes and decays around each mark I have made. The patterns the foam melts into creates a weight and value for the negative space that causes it to seem equal to, or in many instances more significant than the marks themselves. Whether it be painting with a brush, dripping or splattering, the application of the paint becomes almost secondary to the result of the process. The action of painting is also very important to me, it is the record of my improvised movements, and decisions. The process following my expression serves to enhance, warp, and kill the original painting. By chemically reducing the ground of the original painting, I am creating tactile surface and literal depth around and within the mark, through which the viewer is capable of entering the painting."


Petros Chrisostomou

Petros ChrisostomouPetros Chrisostomou and his art are multi faceted. Petros is a Cypriot, raised in London and currently living and working in New York. His art is essentially photography, which would not exist without his work in sculptural model making.

According to Tina Pandi, Curator, National Museum of Contemporary Art, Athens, "Petros Chrisostomou photographs small-scale, ordinary, ephemeral objects in architectural models that he constructs himself, and then dramatically arranges, often employing lighting and staging conventions of the theatre. With the alteration of scale and reversal of the relation between object and environment, between imaginary and real space, his photographs challenge the viewer's visual certainties. The illusionary effect he achieves highlights the artist's playful approach, which fluctuates between mimicry of the real world and construction of a surreallistic reality.

In his photographs, the exuberant assemblage of objects in luxurious interiors - resembling wreckage from some disaster -create paradoxical still lifes that parody the traditional memento mori style of the genre. In his works Rococo bluff I and Rococo bluff 2, the objects he creates out of balloons, chewing gum, fabric and glasses are freed of their ordinary use and become dynamic protagonists. Similarly, the details of the rococo set consist of everyday objects, functioning as contemporary cultural signifiers. Christosomou's photographs become the field for mixing the high- and the low-brow, mass culture and genre painting, the luxurious and the expendable, as indications of social class distinctions. At the same time, the relations between the real and the imaginary in his oeuvre are a commentary on the mediated images of contemporary mass media that distort the natural and immediate dimension of our relation to reality, determining, among other things, the conditions for viewing and receiving art."

The artist himself describes his mission in the following video:


Jayanthi Moorthy

Jayanthi moorthy Jayanthi Moorthy is an artist whose work contains deep spiritual elements with a well of vibrant colors and energies.

She explains,  "I try to depict the material and the metaphysical aspects of life. For the material aspect, I use subjects from nature, as I perceive their organic forms, texture, lines and colors. For the metaphysical aspects, I draw inspiration from the inner spirituality that manifests in the everyday lives of Asian women. I enjoy depicting their social, cultural and spiritual conflicts. They display a mixture of beauty, strength and weakness.

Each canvas is a message, composed from calligraphy, acrylics, oil pastels, ink and paper collages, and made with non-artist tools (like a comb, the broom, a stub, bare hands etc.). The heavy textures and vibrant colors are probably narrative of my responsiveness to the varying cultures of the east and west. My canvases are longish, un-stretched pieces of cloth and paper that can be rolled away like a scroll that is carrying a message."

Jayanthi talks about her art in this short video: