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

David Barton



He's Funny :)






James Van Fossan


ARTIST STATEMENT

James Van Fossan, b. 1964, Ohio.

"The secret of action lies in duration. Only when trend is followed continuously do the results of simple actions gradually accumulate in such a way that they become manifest as good fortune." - Unknown

My youth was spent attempting to harness good fortune through endurance, perseverance and audacity in overcoming obstacles. These virtues I learned by negotiating hindrances to what I believed was a vision of my manifest destiny, only to find myself beginning anew over and over again. In the early years, believing that for every choice there was an equal sacrifice, I felt my life being torn apart by two loves: music and art. Not having enough wisdom or foresight afforded by age, I was not able to reconcile my two life forces walking hand in hand, and so I chose music, at the expense of art. Each year that followed tested my character, belief in my chosen path and in my ability to reach my dreams.

It was not until many years later, when I had surrendered to a Man greater than myself and felt peace in being able to give up fruitless searches of imagined success that I was able to finally take my place in life as an artist and as a musician. Once I allowed the two creative forces to once again rejoin me in my artistic endeavors, I have been able to enjoy blessings I had never known. I began to draw as if I had done so for many, many years. The act of allowing the graphite line to imitate reality came as naturally to me as breathing. I started to observe again, to see nuances and shifts in colors and light. The success that followed my first years as an artist harnessed any residual self doubt and allowed me to push myself further by believing that I could do better.

As my drawings evolved into paintings, I have gravitated towards the natural, the heroic and most importantly, the human. As long as the subject matter of my compositions treats the ordinary human experience and their expressions with a sense of awe, I feel inspired. Realism gives me the foundation of comfort to explore the variety in human proportion, scale and balance. In proportion, I am interested in the sacred relationship between the miraculous human body in parts and as a whole. When I paint hands for example, I am reminded of all the extraordinary deeds man has accomplished through out the ages. In scale, I strive to investigate size of the human figure as compared to other objects, settings and even the canvas itself.

I use color and its layered application to combine impression and reality, while suggesting space and depth of my figures on an otherwise flat surface. I am interested in exploring how each stroke changes the subject matter. When I paint adolescents, for example, I find that quick strokes and thicker paint application conveys the urgency of youth far more effectively than the calm surfaces of adult contemplation. In my work, I strive to define the emotion in my subject's eyes in order to convey the sense of honesty and harmony.

With each new painting, I find happiness not only in the act of creating but in the act of giving as well.










CRITIQUE BY AISTE PARMASTO: FINE ART CONSULTANT; ART D'ART, LLC.

Art by James Van Fossan: A View of Beauty

As a painter of people, James Van Fossan buttresses himself against the insuperable task of creating an illusion of likeness with the entelechy of his talent.

He gently documents the inconsistency of a human figure by suspending it in an expanded moment, while stretching himself towards the very inception of his model's personal journeys, failures, and triumphs. He often uses color, light and texture to describe people in a virtuous, tender sentimentality, expressed in realistic renditions of their form.

At first glance, Van Fossan's portraits seem to be constructed in silent, if not allegorical fulfillment, or a state of inner transformation. In meticulously arranged compositions, color travels in slow, fluid currents, carefully transporting the soft light in the folds of autumn yellows, midwinter blues and grays. Upon closer examination, it becomes evident that the deliberate absence of perspective recession and the often moodily textured background is an invitation to visit the epithet of human condition described in the model's form.

With an intimate gesture, Van Fossan pulls back the privacy curtain and allows one to intrude on a single moment of tender relaxation, personal expression or a translucent day dream. His subjects are unaware of being watched, scrutinized and observed. Instead, some are depicted in an instant of personal exchange with the artist and in a vulnerable state of self reflection, which Mr. Van Fossan captures in the curve of a lip, the moisture of a gaze or the weight of an arm.

In subject matter, Mr. Van Fossan sometimes leans on Neoclassical symbolism and histrionics reminiscent of Romanticism. Here, the artist arranges his figures on a narrow stage, as a frieze across the pictoral plane, while documenting an idealized encounter between himself and his subjects. Interestingly, even though Van Fossan is capable of documenting the physical shortcomings of his models, he does not allow himself the dark pleasure of sliding into the macabre of human inadequacies, which seem to captivate and enthrall the contemporary art scene from time to time. Instead of dwelling on imperfections, Van Fossan bathes them in a halo of forgiving light and benevolence. This in turn allows the viewer to enjoy the rich crevices of his model's fabric, notice the slip of a shadow in between fingers, and examine the sometimes immense glance of his subject's eyes.

It is said that an artist paints what he sees. If that is true, then the world that James Van Fossan sees is void of nefarious, quotidian vices and instead is brimming with beauty, kindness, and personal resolve.

Aiste Parmasto
Fine Art Consultant
Art d' Art LLC















AWARDS

2010 Third Place, Cover Art Contest, Artist Portfolio Magazine

2010 Raymond Chow Memorial Award. 82nd Grand National Exhibition: American Artists Professional League, New York

2010 Finalist, Art Renewal Center's International Figurative Category, 2009/2010 ARC Salon, Glenham, New York

2010 Honorable Mention, International Masters of Fine Art, San Antonio, Texas

2009 Finalist, The Artist's Magazine 26th Annual Art Competition: Portrait/Figure Category, December issue

2009 Inductee into the International Guild of Realism, Scottsdale, Arizona

2008 Finalist, International Artist Magazine, Scottsdale, Arizona

2007 2nd place award recipient: Drawing Category, Phippen Museum Western Art Show, Prescott, Arizona

2006 Recipient of the Phippen Family Award, The Phippen Museum, Prescott, Arizona

2005 Semi-Finalist, Art Renewal Center's International Figurative Category, ARC Salon, Glenham, New York

BIBLIOGRAPHY

"Face Forward", American Art Collector Magazine, Scottsdale, Arizona, January 2009, Vol. 39, p. 124.

"James Van Fossan, Finalist Segment", International Artist Magazine, Scottsdale, Arizona, December/January 2009, Vol. 64, p 9.

Jakubisin, Jeanette. "Sold! Mission Accomplished", American Art Collector Magazine, Scottsdale, Arizona, October 2008, Vol. 36, p. 242.

Television segment on mural work, 2007, KCAB News 28, Pinal County, Arizona



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Matt Manley



Digital illustrator, building upon a tradition of canvas painting.
Although my work is digital in the end, it is built upon a foundation of traditional painting and drawing. The larger, usually figurative elements are original oil paintings on either canvas or board; the overlying textures are usually created by hand as well. Sometimes the paintings are coupled with pencil or ink drawings. Photography and direct scans are often used for secondary or supporting imagery, and they rarely dominate my work.

Education: Kendall College of Art & Design
Teaching: Kendall and Grand Valley State University

Other things I'm into: gardening-orchids, carnivorous plants, aroids, and tillandsias; literature & poetry; cycling & hiking; cooking; psychology, mythology & alchemy; films-mostly foreign arthouse films by Tarkovsky, Bergman, Bresson, Kurosawa, Tarr, Ozu and others.


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Deborah Barton




Education
A. Wingate University, BFA, 2003
B. CPCC, 1971-1973
C. University of NC - Greensboro, 1969-1970

Art organizations
A. Associate member: Oil Painters of America
B. International Guild of Realism










Awards
A. 2010 Doug Helms Memorial Art Exhibition, Best of Show
B. Charlotte Art League "Fall Into Art 2005", 2nd place
C. Outstanding Senior Art Major, 2003. Wingate University
D. Blooming Arts Festival, 2002 1st place watercolor

E. Blooming Arts Festival 2001 3rd place 2D (graphite)




Sebastian Walter-Lilienfein



1959 Born in Düsseldorf



1980 - 1986 Studies painting at the Hochschule der Kunst, Kassel, Germany, under Professor Kurt Haug and Professor Manfred Bluth



1991 Becomes member of a special artists society in Germany



LIves and works in Essen-Kettwig since 1987




































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