Group Exhibition on View
FREEDOM
15th August - 15th September 2021
We are pleased to announce that the “FREEDOM” Online Group Exhibition opens on August,15 2021, exhibiting the work of 22 artists.
Freedom is never dear at any price.
It is the breath of life.
What would a man not pay for living?
Mahatma Gandi
Exhibition link : AlbeArtgallery.com/freedom
Exhibitors
RODRIGO CANHÃO, PORTUGAL / DAVID STRAANGE, USA / SUSANA NEGRE, SPAIN / HARRY HURLOCK, UK / DOLORES MEPHISTOPHELES, GERMANY / OLGA ZAFEIROPOULOU, GREECE / BRIGITTE AMARGER, FRANCE / ALEXANDR SEREGIN, RUSSIA / ROMMEL MENDOZA, PHILIPPINES / THELMA VAN RENSBURG, SOUTH AFRICA / FAIZA MUBARAK, UK / RICARDO CANDIA, BELGIUM / ALINA O'DWYER, CZECH REPUBLIC / CAROL POCI, BRAZIL / GAYANE ZHESTOVSKYA, RUSSIA / VICTORIA DURYAGINA, CZECH REPUBLIC / CARLA PIACENZA, BELGIUM / JUDITH CHRISTINE RIEMER, GERMANY / OLGA RYZHKOVA, RUSSIA / JANA TITKOVA, RUSSIA / LENA SILVA, UK / ELIZABETH CHERNYSHOVA, RUSSIA
Acrylic on canvas, 100x115cm
Acrylic on canvas, 100x150cm
Acrylic on canvas, 118x140cm
Acrylic on canvas, 120x160cm
Acrylic on canvas, 100x120cm
Acrylic on canvas, 100x148cm
Acrylic on canvas, 100x150cm
Acrylic on canvas, 90x160cm
Acrylic on canvas, 100x150cm
Acrylic on canvas, 100x150cm
I am interested in dealing with issues that are at the heart of the human condition, such as individuality, personality and their idiosyncrasies. From stereotyped photographs of Americans from the 50’s, I developed a series that I currently work on. The approach is ironic and sarcastic and the meaning has been perverted.
part of the collection “Current Beings”, 32 x 35 x 5 cm, clay, glazes
part of the collection “Current Beings”, 30 x 38 x 5 cm, clay, glazes
part of the collection “Current Beings” , 40 x 29 x 5 cm, clay, glazes
We are all made of colours. Each human being owns a unique combination of colours. Feelings projected in colours. Life during the
pandemic made us share some common feelings and some common colours. Hiding our emotions. Hiding our fears. Hiding our smiles behind a mask. We are all freedom fighters! A worldwide force.
The most synchronised period since the creation of earth.
United, we can be winners!
Losing my sister at the age of 12 was the first shock in my life. I first started drawing when I was 20 years old. That was the light coming through the crack. I added colour in my life and decided to apply to an art school while I was studying marketing. Art became not only my best therapist, but also an immense motivation. Past belongs to the past. I create to find serenity and wish to pass it on people. Facing my deepest fears and turn them into happiness, that’s my goal. Clay keeps me grounded and connects me with the earth. Clay is an ongoing assistant, which I deeply appreciate.
from the series "The Uncertain", 40 x 60cm, digital infrared photography, limited edition (1/10) Ultra Smooth Hahnemühle
from the series "The Uncertain", 50 x 75cm, digital infrared photography, limited edition (1/10) Ultra Smooth Hahnemühle
from the series "The Uncertain", 30 x 40cm, digital infrared photography, limited edition (1/10) Ultra Smooth Hahnemühle
from the series "The Uncertain", 40 x 60cm, digital infrared photography, limited edition (1/10) Ultra Smooth Hahnemühle
In a way, each reality represents a world that is intertwined with others, each interpretation is a set of personal assumptions that interpret the environment, where everything alien exists although I ignore it. Materiality then provokes a permanent watchful state permeated by the recesses of consciousness.
Each element makes sense when it is appropriate, as a reflection and complement, perhaps, of an inner world that seeks to avoid permanent abstraction. Therefore each reading of the environment and of the other is an adaptation, an encounter of uncertainty with the obligation to see.
This new dystopian present then exhibits the shadow world of the unknown, where one cannot escape the subjectivity of this new scenario and the threat that knowing the difficulties of reality now represents.
Once what is now presented as true has been discovered, the concern resounds about whether reality is definitive or is presented as a succession of uncertain realities.
acrylic, canvas, 110x90 cm
acrylic, canvas, 90x70 cm
acrylic, canvas, 100x80 cm
acrylic, canvas, 80x80 cm
acrylic, canvas, 100x80 cm
acrylic, canvas, 60x80 cm
acrylic, canvas, 80x60 cm
acrylic, paper, 50x40 cm
acrylic, canvas, 100x80 cm
acrylic, paper, 60x40 cm
The main issues I'm interested in as an artist are the relationship between the individual and society, intrapersonal conflicts and reflection, the problem of freedom and morality, the dark side of personality.
The main goals of my art are to formulate questions, encourage viewers to think and open topics for discussion.
What makes us human ? Maybe our ability to reflect, the presence of language, technological progress, our ability to abstract thinking and creation of artworks, or perhaps our ability to empathize?
I don't look for answers to all these questions in statistics and numbers. I look for answers in the person himself.
The time and space on the canvas doesn't move sequentially, so I have the opportunity to use my paintings to create an environment and situations for my audience without giving ready made answers and solutions.
The choice of black as the main colour isn't accidental. It symbolizes the shadow side of personality. Bright colours symbolize the hope for a bright and successful future for mankind.
Acrylic on canvas with texture, 20x20сm
Acrylic on canvas with texture, 50x60сm
Acrylic on canvas with texture, 50x70cm
Acrylic on the board with texture, 100x100cm
Acrylic on canvas with texture , 20x30cm
Acrylic on canvas with texture, 40x60cm
Acrylic on canvas with texture, 20x30cm
Acrylic on canvas with texture, 20x20сm
Acrylic on canvas with texture, 25x35cm
In my work, I see a reflection of the changing world. My paintings for me are not only an act of art, but also a deep understanding of myself.
For a long time, I could not convey to others my perception and attitude (even ordinary landscapes painted by me seemed soulless.) I was always attracted by bright combinations. And, at first it was just a mesmerizing visual pleasure. But I experimented a lot with color and shape until I found what I was looking for.
I found my own way of displaying feelings quite by accident, after my husband asked me to paint a picture as a gift. In it, I was able to convey the whole gamut of emotions, not paying attention to the usual patterns.
The transitions from calmness and serenity to riots of colors in my works excite the imagination. I kind of try to force a person to "look inside himself" and understand what he is feeling at this very moment. Knowing myself through art is my goal.
ink and digital manipulation on paper, ed 3., 43.34cm x 56.1cm
ink painting and digital manipulation on paper, ed 3., 43.34cm x 56.1cm
ink and digital manipulation on paper, ed 3., 43.34cm x 56.1cm
ink and digital manipulation on paper, ed 3., 43.34cm x 56.1cm
ink and digital manipulation on paper, ed 3., 43.34cm x 56.1cm
Beneath the social mask we wear every day, we have a hidden shadow side: an impulsive, wounded, sad, or isolated part that we generally try to ignore (or hide). The Shadow can be a source of emotional richness and vitality, and acknowledging it can be a pathway to healing and an authentic life.
– C. Zweig & S. Wolf
Childhood trauma caused by emotional and psychological abuse by a caregiver causes severe long term mental distress. Psychologists argue that severe emotional abuse or neglect in childhood causes a fragmentation of the self where certain parts of the victim’s self becomes disassociated or split off as a maladaptive protective response to the trauma. The person disassociates the trauma and parts of him/herself to survive the trauma. The traumatised parts therefore becomes part of the persons shadow self.
The artworks I created is an attempt to address this phenomena from the point of view of my own personal experience with childhood trauma and my ongoing struggle to find a stable sense of self and freedom from trauma.
Acryl / Kohle, 80x80x4.5cm
Acrylics/charcoal, 100x100x2.5cm
Acrylics/charcoal, 80x60x2cm
Acrylics/charcoal, 80x60x2cm
Acrylics/charcoal, 80x60x2cm
Acryl / Kohle, 80x80x4.5cm
Acryl / Kohle, 55x115x4.5cm
„Somewhere between dreams and reality: My creative work tells stories from these border areas, it fuses the representational with the abstract.
I endeavor to give the invisible a new visibility, because many interesting processes and structures are hidden deeply in the obvious.“
The Langton Aquerelle Paper, cold pressed by Daler & Rowney, 300 gsm, acid free – CassArt London Acrylics, 42 x 60cm
Canvas primed with Golden Gesso. Winsor & Newton - Winton Oil colours and Liquitex Satin Varnish, 30x21.5cm
Cardboard primed with Golden Gesso. Winsor & Newton - Winton Oil colours and Liquitex Satin Varnish, 30.5x40cm
Canvas board primed with Golden Gesso. Winsor & Newton - Winton Oil colours and Liquitex Satin Varnish, 40x30cm
Canvas board primed with Golden Gesso. Winsor & Newton - Winton Oil colours and Liquitex Satin Varnish, 40x30cm
Cardboard primed with Golden Gesso. Winsor & Newton - Winton Oil colours and Liquitex Satin Varnish, 30.5 x 40cm
Canvas board primed with Golden Gesso. Winsor & Newton - Winton Oil colours and Liquitex Satin Varnish, 40x30cm
Humans, our species, portrait is my inspiration. Our neurological ability and resilience, that allows one to bare the most profound emotions, be it of happiness, anger, sadness, yet skilfully display only what one’s surroundings, society, deems as acceptable. It is, to me, most remarkable to admire portrait Art. How I get ‘lost’ in my passion for Renaissance period. Often pondering, what might have been hidden, preoccupying, behind the most beautiful, serene expression of the subject model. Renaissance portraits carry such profound facial expressions, such subtle beauty, almost unreal. I often start by randomly searching for images of female faces. Focus, on facial expressions, emphasis on every facial soft, rough, and deep lines. A glimmering and within sadness of a pair of beautiful eyes. Often, it is said, the eyes are the gate to one’s soul! I aim to gift the observer with a common human feeling when engaging with my work, rather than an imposing feeling of seeing oneself through society and world expectations. In my work, happiness, sadness can be found darkness as well, yet fragility and vulnerability of our beautiful nature.
My work is an invitation to connect with our inner selves without boundaries or fear of being one true self. We live in such troubled times, challenging to one’s mental health and deepest part of our souls, often leading to self-doubt and reasoning to what society imposes one to be. Painting is a lifeline, a gate of self-expression, a private inner space where I can connect consciously or unconsciously with my plain canvas. Where I can be my own protector against the demands of our day and age society. My work is often described as sensitive, spiritual as much as enigmatic. Its of utter importance, as an artist, to celebrate as often as possible female value in society, not has celebrities but as strong beings, filled with skilful discernment and ability to manage so many roles throughout their lives. Yet, often behind a beautiful, subtle, gentle expression there is pain, trauma, denial, insecurities, doubts that the luxury of transparency of such is condemned by our society.
Human beings are constantly searching, longing to truly understand oneself, finding meaning, purpose. Often, turning to an inner world as a mechanism of escape from reality. My portrait works often allure, veiling elements of one’s soul, conveying messages so that the observer might or might not connect. My work is extremely real yet as much insincere. Though my passion mainly is portrait, I enjoy almost as much challenging myself and create pieces that might be an abstract, I believe in the soul merging with the hands and let the white canvas be the open field of inner worlds.
mix media - photography; 29,7 cm x 42 cm
mix media - photography; 29,7 cm x 42 cm
mix media - photography; 29,7 cm x 42 cm
mix media - photography; 29,7 cm x 42 cm
mix media - photography; 29,7 cm x 42 cm
mix media - photography; 29,7 cm x 42 cm
mix media - photography; 29,7 cm x 42 cm
This series of photography are a personal reflection on the role of women in the Afghan society, on the meaning of ¨El khaal¨ Afghan tattoos.
Tattoos are very normal among women in Afghanistan, especially among women. Nomadic Pashtun & Kutchi tribes. "Khaal" means dot, because tattoos are mostly drawn on dotted shape and in blue color. The importance of the tattoo in the culture, is part of its identity as women since they are a “show their culture, her history, her love for the country, but what is more important, It is also that they show their “freedom of expression as women”, it gives them a voice, they are a symbol of matriarchal power and apart from aesthetics they are a form of silent rebellion and empowerment¨.
For this series of photos, I have made a photomontage, combining fragments of two photographs of two tattoo hands, mixed with a selection of words in Dari about the roles of women in the family such as “Wome n = ز†ن†ا†ن (zanaann), Girl= د†خ†ت†ر†(dukhtar), Mother = م†ا†د†ر†( maather),Daughter= د†خ†ت†ر†(dukhtar) ,Sister= خ†و†ا†ه†ر†(khwahar),Friend = د†و†س†ت†(Dost) ,Wife = ز†ن†(Zan) ,Lover = ع†ا†ش†ق†(Aasheq) ,Grandma = م†ا†د†ر†ب†ز†رگ†(maather buzurg) and Aunty = خ†ا†ل†ه†(khaala”) and also combinewith the iconic tiles as symbols of the Blue Mosque in Mazar-e-Sharif in Afghanistan.
With regards the hands pictures, I.ve worked with two beautiful women from Afghanistan, Sara a young afghan women who is a refugee currently living in Germany and Noosheen, a young afghan girl who is studying in Germany, I did ask them to tattoo their hands and write about them who they are, what are their dreams and what they hate the most Afghanistan .. and both of them have the same dream peace in Afghanistan.
The material used to print the photos is acetate sheets as a support, which are created to reproduce the design on a fabric, working with the photolith without reaching the final stamping process since for this project I wanted to experiment and investigate about the transparency and layering through acetate.
Mixed media on canvas, 60 x 90 cm
Mixed media on canvas, 25 x 25 cm
Mixed media on canvas, 75 x 75 cm
Mixed media on canvas, 100 cm x 70 cm
Mixed media on canvas, 50 cm x 60 cm
Mixed media on canvas, 100 cm x 70 cm
Mixed media on canvas, 25 x 25 cm
Mixed media on canvas, 60 cm x 90 cm
Mixed media on canvas, 60 x 50 cm
Mixed media on canvas, 50 x 60 cm
Each piece of artwork that I create is a discovery of my truth and an expression of my inner voice. I lose myself in the beauty of textures and layers of colour as that is when I am truly free and just allow my feelings, thoughts and memories to guide me.
When painting, I follow the unconscious and each piece is guided by the initial textures that I create. Each layer of colour and texture added guides the creation of the next, and from this I try to capture the perfect in the imperfect. The final piece only emerges once the chaos disappears into a beautiful harmony of textures and colour.
40x50cm, limited print (1 of 10) on fine art paper
40x50cm, limited print (1 of 10) on fine art paper
80x110cm, oil on canvas
80x90cm, limited print (1 of 10) on fine art paper
95x100cm, limited print (1 of 10) on fine art paper
My works show healing through the destruction of the existed things and the building of a new basis. I explore the topic of my inner stability, its causes and effects. I want to show that any mind changes are possible with awareness and acceptance of true self. Self-awareness develops with the destruction of stereotypes, frameworks, and system rejection.
I often meet people who did not fulfill their dreams just because someone told them it was impossible. They didn't try and maybe never even regretted it. Everything is logical in their life coordinate system. I feel cramped in these rules. I want to find and fulfill my desires through my creativity.
Crisis states are part of any system.
Through these states, one can learn to recognize and find resources for reflection and gaining strength. In my works, I show the result of a study of my psychological stability. It seems to me that if you accept any crisis state correctly, it can and should even become a source of inspiration. It is important not to wait until a positive resource appears. You need to move, enjoy even falling to the bottom.
When overcoming crises, you always want your soulmate to be near. A person with whom you would feel free, for real, without pretense. Who would understand you without words. Finding a soulmate is not easy. And many people never meet him in their lives. But in fact, everyone can become a soulmate for himself. All you need to do is look in the mirror. You are the one in front of which you can not be ashamed. The one who can pull you out of depression and make you dance. The one who gives hope. Your soulmate is the best part of you.
133,5 cm x 98 cm, acrylics on paper
98 cm x 79,6 cm, acrylics on paper
141 cm x 98 cm, acrylics on paper
131,5 cm x 98 cm, acrylics on paper
138 cm x 98 cm, acrylics on paper
98 cm x 73 cm, acrylics on paper
132 cm x 98 cm, acrylics on paper
98 cm x 78,5 cm, acrylics on paper
Her paintings are a direct extraction and markings of her life experience, with a story behind each of them. Mainly inspired by life lessons and painted with only red, blue, black and white, almost each work shows an aspect of a relationship human can have with oneself and others.
The four selected colours were important on her journey of looking for freedom from limitations, found primarily in Berlin techno scene, which later on had influence on her work. The paper she uses for painting symbolises the vulnerability of her creativity, which has been suppressed for many years.
With neon colors and black light, some paintings show the hidden meanings and emotions invisible under normal light, offering more than one perspective to the viewers with an opportunity to connect with parts of themselves they might not be connected with.
24" X 36", acrylic on canvas
24" X 36", acrylic on canvas
24" X 36", acrylic on canvas
24" X 36", acrylic on canvas
24" X 36", acrylic on canvas
24" X 36", acrylic on canvas
The beauty of art depends on how people percleve art coming from their own vantage point. To some people it may just be quickly drawn lines or splashes of inks or colors. That is fine. That is their take-away. To someone with deeper art appreciation, they find It as a significant human experience and a soul-severing life changing experience and to the Initiated, the schooled in the field of fine arts, it would be brush strokes and techniques and that Is entirely okay.
That is the beauty of art because no matter where you are coming from, no matter which walk of life you walk there is always something to take away from, an experience with art will forever change you and you will never be the same even if that take away is merely skin deep.
from the series "Knife" , paper, oil, pencil, oil pastel, 61x43 cm
from the series "Knife" , paper, oil, pencil, oil pastel, 61x43 cm
from the series "Knife" , paper, oil, pencil, oil pastel, 61x43 cm
from the series "Knife" , paper, oil, pencil, oil pastel, 61x43 cm
from the series "Knife" , paper, oil, pencil, oil pastel, 61x43 cm
The series was born out of a desire to take a direct look at your fears and pain, at your vulnerability and vulnerability in this world.
This story was felt by me on my own experience, so I have a story to tell. I was a little girl, аt the age of 2 years old, when I needed an urgent operation. Either with a knife or death. Time passed for minutes ...
Today, as an adult, I have to turn to the knife again. But already for cutting off my inner fears, real or fictional.
Meeting with a knife, as with the most bare instrument, inevitably leads us to an emotional experience. Danger. We live in a genuine, primitive, animal emotion.
The fear of pain is greater than the pain itself. The fear of fear is greater than the fear in the moment. When we try to get through the pain in advance, are we not increasing the intensity? Are we not becoming our own enemies?
You live your whole life in this body, every day living the life of this body. But perhaps you don't even know who you carry with you every day ...
Without your emotions, you are not you. Without allowing yourself to experience emotions, can you really understand WHO YOU ARE AND WHERE IS YOUR FREEDOM?
Samples of recovered material photographs, laser engraved, on discarded x-rays cut; sewing
Modular Installation : Height 117cm Width 160 Depth 3
Laser engraving on X Rays; recovered textiles samples assembled by sewing.
Modular Installation : Height 215cm Width 160 Depth 120
X Rays; old road maps; reflective materials; paint; threads.
Height 84.6 inch Width 25.6 inch
Perforated Jacquard lace cards; reflective fabrics; trash recovered X-rays and electronic circuits; threads.
Size 2.15 x 1.40m
X-Rays (calibration and blue); reflective material; nylon thread.
84,6 x 25,6 inch / 2,15 x 0,65cm + 6 squares 0,35 x 0,35cm/13,7 x 13,7 inch
AMARGER is working predominantly with medical imagery and new technologies, in large-scale installations, playing with the aesthetic factors of transparency and reflection.
Her work unquestionably fashion a reflection about human, its place in the society, the universe and the nature, the traces he leaves.
She has a deep-rooted interest for the scientific and medical world and she questions about our actual body that expresses our complexity and mystery, and the future H+.
Sewing together laser cut and engraved X-rays, transplanting and reconstructing the body anatomy, she explores the relationship between a surgeon and an artist.
This diversion of materials, for artistic purposes and memory ends, is essential for her. Sensitive to ecological issues, she finds in her artistic practice a symbolic double direction: create artworks by recycling discarded materials.
Acrylic and spray paint on cotton 105 x135cm
Acrylic and spray paint on cotton 67 x 129cm
Acrylic on cotton 105 x135cm
Acrylic on cotton , 115 x140cm
Acrylic on cotton 115 x140cm
Acrylic on cotton 70 x 90cm
Acrylic on cotton 70x90cm
Acrylic on cotton 70 x 90cm
Acrylic on cotton 105 x135cm
These works, all 2021, form part of the artists’ research into the decline of heraldic symbolism, and the restructuring and removal of the holders of institutional power; images of swans and heraldic lions appear in various states of entropic decline.
Displayed in state of being only partly ‘exhibited’, (either about to be hung or having just been removed), the paintings and their display address ideas of constant states of flux; of the ever shifting centres of power and control, and of an implied sense of past or future action, reaction and rebellion. The heraldry, centre of feudalistic symbology, is caught and frozen in a dismantled state.
posca marker on canvas, 100x100cm
posca marker on canvas, 90x90cm
posca marker on canvas, 100x100cm
posca marker on canvas, 100x80cm
posca marker on canvas, 90x90cm
posca marker on canvas, 100x80cm
I like to paint what I see around the world in my travels
until Sep,22 2021
60 x 60 cm, acrylic on canvas
20 x 30 cm, mixed media on canvas
30 x 40 cm, mixed media on cardboard
19 x 28 cm, mixed media on cardboard
40 x 30 cm, mixed media on canvas
Most of my artworks are based on my own feelings and impressions.
My art reflects my hopes, dreams, personal contradictions, life experience, creative chaos.
Each artwork is a story I want to tell my audience. Objects and characters are often stylized, unsuitable for the reality, composition is distorted. It means I want to show another side of this world – the world of imperfection. And in this world my visions are different and controversial. I believe it makes my art peculiar, something that has a mystery, it is a message without words.
I love to work with different color matches, experiment with textures and techniques. You can see it in my abstract works. It allows me to create not depending on a certain idea or image.
I use various mediums, but my favorites are acrylic paints and oil pastels which I like to combine.
I do not define my art by a certain genre or style. My art is a message I want to bring to this world, and I hope my message will be heard.
Paper Canson Illustration 250g/m2, watercolor brushpen, ink liner
Paper Canson Illustration 250 g/m2, watercolor brushpen, ink liner, 210х297 mm
Paper Canson Illustration 250 g/m2, watercolor brushpen, ink liner, 210х297 mm
Paper 250g/m2, watercolor brushpen, watercolor pencil, 210х297 mm
Watercolor Paper300g/m2, watercolor brushpen, ink liner, acrulic marker, watercolor brushpen, ink liner, acrulic marker, watercolor
Paper Canson Illustration 250 g/m2, watercolor brushpen, ink liner, 210х297 mm
Look inside myself.
What I feel? Happiness, joy, saddnes, fear, pain. So many feelings and so different.
I explore myself and draw. Draw everything I feel - all my fears, all my pain, loneliness and love. My works are mirrors of my soul. There are different transformations of my soul - as a little girl, as a man like protector, as a perfect woman, as a mother.
My art is metaphoric and full of connection. It includes Universe as a part of composition. When I create my arts, I become free from my feelings. It's important for me to share my dreams and emotions. I become happy by that way.
In my work I prefer watercolor brush pen as material. I compise it with ink and acrylic markers. I like to use black color in my compositions as a symbol of Universe.
Freedom for me is very important theme cause all my life I try to stay free from many things and mostly from my fears. Freedom is personal feeling of harmony, as for me. All my life is a path of exploring myself inside and looking for answer the question: What does freedom means for me? My works help me to understand it and may be it would be useful for the other people.
digital + analog photograph, Limited edition 1/10 photographs. Printed in fine art Fiber Matt paper, 40x60cm
digital + analog photograph, Limited edition 1/10 photographs. Printed in fine art Fiber Matt paper, 40x60cm
digital + analog photograph, Limited edition 1/10 photographs. Printed in fine art Fiber Matt paper, 40x60cm
digital + analog photograph, Limited edition 1/10 photographs. Printed in fine art Fiber Matt paper, 40x60cm
"The mountain had to relent" propose a visual approach and reflection upon the struggle of women in a phallocentric society.
Through the exploration of the elements of the natural environment in the Andean geography and incorporating its symbology within a poetic-visual framework, two metaphors happen where the man who is represented by the mountain begins to be embraced by the woman, as water, until finding a balance. The same happens with the urban images that are inserted over the previous ones, in which the presence of women takes an active and change position vis-à-vis men, confronting the divergences of a devaluing system.
oil painting on canvas 50 x 50 x 2 cm
mixed media on canvas , 35 x 45 x 2 cm
In every work my primary inspiration and motivation is to draw parallels between our inner world and outer world. Inspiring beauty in thought reflects in our external world.
When you view a piece which inspires you to reflect on inner thought, the fruit of happiness will manifest externally.
20x16in, Acrylic on canvas
20x16in, Acrylic on canvas
20x16in, Acrylic on canvas
David Straange is a painter working in a diverse range of media embracing the intersection of Expressionism, Minimalism, Conceptualism, Abstraction, Street Art, Neo-Geometric Conceptualism and Fauvism. His work explores the subconscious through intuitive abstraction. He explores the idea of the repressed subconscious through abstraction. Drawing from a diverse range of African-Polynesian mythology to the psychology of Jung and Freud, David is interested in externalizing the interior experience of the mind and the factors that shape it. He sees art as a looking glass into the future of the human consciousness and how it effects our actions.
When David paints, He experiences prophetic visions and experiences deja-vu within the first 5 minutes. He often wonders about our bodily reactions under intense pressure, and to channel that into a calm exhibition of grace and class. He experiences this through rigorous painting or extreme lengths (moments) of solitude. These moments of solitude give him insight on when the anima becomes consciousness. He brings a visceral communication of southern hospitality coveted in a hourglass of self-reflection. His work conveys cyclical everyday chaos of city-life that is likened to be perceived as order when the sun falls and rises. His study of Numerology, Latin and various etymology recombines the primal and civil; The unsophisticated urges and primordial flesh that we often suppress in the regular rush of worldliness.