michael gatzke

AT AN UNTAINABLE DISTANCE II

(mixed media on canvas)

 

Michael Gatzke - At an Untainable Distance II

(mixed media)

110 x 150 cm

www.michael-gatzke.de

Statement:

But sometimes is the silence - in a screaming world - stronger ...To illustrate this, I would like to start with a quote by Günter Seubold in "Silence and Being" of 2014, and there from the essay "Aesthetics of silence": "Silence is fundamental for every individual, for every culture as a whole. A culture that forgets that and sets it on "full droning" is dying, basically dead, even if she keeps herself on her feet for a while. But what keeps her on her feet does not come from the time of the full boil, but from a time before that, a time when silence had not been destroyed. One feeds on the nourishing culture or fruit of earlier decades and centuries, while one pursues its consuming business and pleasures. Well watched. Our fast-paced world is always in the fast lane at high speeds, but it does not come any more, do not allow yourself any more breather. Does not come to your senses anymore, to reflect.
There is an elementary reason in the Bible (Exodus 20: 8-11): For in six days the LORD made the heavens and the earth, the sea, and all that is in them, and he rested on the seventh day and saw that it was good. This biblical 7 day has tended to be lost in modern times. Silence and that includes silence is not very popular in our busy time. Silence, that sounds somehow stale, outdated, even strange. Silence has no room left. Silence does not just happen. You have to make a conscious decision to be quiet. Especially in the context of the Internet, iphone, Facebook, Instagram and Twitter, where the images rush past one at a regular rate. To experience silence, you have to go offline. So my new series are based on an attempt to capture the slowness of images, countering the tempo of electronic picture noise. My pictures are missing everything colorful and loud. Ostensibly nothing happens or only little, but everything seems possible at any time. Perhaps the sceneries found there only form the resonance to my inner worlds. There are no really real pictures of landscapes to be seen, but open wide horizons, but they come from the abstraction. The few people and animals appearing in collage form seem archaic and concentrated. They do not really participate in their activities.

Exhibitions:

2017 art space K 49 Cologne 2017 HAL ART (art fair), Halle, Germany 2017 Contemporary.Art.Ruhr. Essen (selected talents) 2017 ArtAhr Sinzig, Germany 2016 Künstlerforum Bonn 2016 Häppy Art (art fair), München 2016 PAN kunstforum niederrhein (art fair), Emmerich 2016 art’pu:l Eupen (art fair), Belgium 2015 Cheap Art (art fair), Bonn 2015 Art Lokal (art fair), Windeck, Germany 2014 art’pu:l 14 (art fair), Pulheim, Germany

 

 

 

Basha maryanska

renewal

(acrylic)

Basha Maryanska - Renewal

(acrylic) 48''x36''

www.bashamaryanska.com

Biography:

MFA at Academy of Fine Arts in Gdansk, Poland in 1979. She has received awards for her numerous groups and solo shows in media ranging from painting, sculpture, installation fiber art and performance to photography and graphics.
After completing her MFA (Painting, Sculpture, History of Art and Culture, Design) from the Academy of Fine Arts, Gdansk, Poland and studied at the Ecole de Louvre, Paris in Medieval and Early Renaissance Art from 1979-1980., and received a Fellowship in 1986 from the Kosciusko Foundation, NYC. Basha Maryanska’s artworks are found in the permanent collection of Harvard University, Cambridge, MA; National Museum of Gdansk, Poland; and Museum of Casimir Pulaski (near Warsaw, Poland), and many private collections in:Poland - Warsaw, Krakow and Gdansk; France - Paris, Grenoble, Aix-en- Provence, Limoges, Montpelier and Metz; Germany - Munich, Berlin; Holland - Amsterdam, Hilversum; Czech Republic – Prague; Canada – Montreal. Quebec; UK – London; Sweden – Stockholm, Umea; Lithuania – Vilnius; Japan – Tokyo, Osaka; Mexico – Mexico City, New York – NYC, Queens, Brooklyn, and many places in Upstate NY; Washington DC; Chicago, IL; Bloomington, IN; Boston, MA; and all over the U.S. Most recently - Finalist in National Biennale North Carolina 2015, Hilton Head, and Award Winner in EWAAC International Show 2015, London, UK.

Statement:

I transform the space, light and shadows, shapes and movements into my compositions that look like mysterious landscapes. The vibration of colors and texture have a significant role in my painting. I portrait light and air with its magic transparency. Art is in constant motion. My creativity floats and expresses Energy and Movement. My Art is the mirror of my Soul. It is a motion.

 

Stephen Mauldin

poles no. 16

(acrylic on canvas, 3 panels)

Sthephen Mauldin - Poles No. 16

(acrylic on canvas)

43 1/4" x 42 3/4"

www.mauldinart.com

Biography:

I went to Oklahoma City University where I received a Bachelor of Arts degree with a major in art in 1974. In 1979, I entered the University of Idaho where I was granted a teaching assistantship and, in 1981, received a Master of Fine Arts degree with a concentration in painting and printmaking. Since that time, I have been an actively producing painter.
In 1985, I began teaching Painting and Drawing in the Continuing Education program at the Pacific Northwest College of Art and, in 1987, Basic Design and Drawing at Mt. Hood Community College. I continue to teach at both schools, although there have been breaks of various lengths at each. Altogether, I’ve taught twenty years at the PNCA and fifteen at Mt. Hood.

Statement:

Part of my artistic practice has always been to “play” with paint on a regular basis to learn more about its properties and potential. Eleven years ago, I taped a super-fine straight pin to the end of a palette knife, dipped the pin in paint, cocked it back and slung the paint onto a piece of paper. The resulting mark just blew me away. Its defining characteristic was electric energy, but the incredibly fine nature of the mark was also striking. As I worked on two series of work over several years exploring this mark, it occurred to me that it could be used to mix color optically. The “Poles” series of paintings are explorations into that idea. As the “Poles” series evolved, the pieces went from single panels to two panels and now have expanded to three or four panels, all functioning as one piece.
This expansion of format occurred largely for technical reasons, but curiously has also expanded the idea of polar relationships that spawned the series.