I f process were an art form, Dr. George A. Koemtzopoulos would be the purveyor. With a background in realms more logically based, it is not surprising that Koemtzopoulos’ subject matter and modes of creation reflexively inform one another. His works are systematically categorized into three subjects: those involving classic painting techniques, those involving digitally manipulated paintings, and those involving the compositing of paintings and photography via digital manipulations. He breeds an “uncommon variety of styles” whilst enhancing the pulchritudinous caveats the earth has to offer. Surface on the Planet of Orion exemplifies Koemtzopoulos’ relationship between process and product. His subject matter is plainly referenced in its title, despite its fictionality. Koemtzopoulos incorporates a myriad of rainbow color marbling its way across the textured surface of said planet. The resulting image is almost artificial, yet retains qualities so abstracted and seemingly intangible that it reaches an unparalleled level of beauty, inversely promoting a sense of lucid understanding. Likewise, utilizing digital techniques seemingly usurps the credibility of Koemtzopoulos’ subjects. On the contrary, his process begets a new sort of actuality and allows for variance in truth, furthering a deeper awareness Koemtzopoulos, similar to the constellation and Greek myth for which Surface in a Planet of Orion is named, is a hunter. He seeks out beauty and captures it and assembles new formulations for others to appreciate.
Website: www.artmine5000.com
DR. GEORGE KOEMTZOPOULOS
SUSANA GUARDIOLA
W hile most people look at the outward appearance of a person, Susana Guardiola peers into an individual’s soul. She sees past the boundaries of flesh and bone, discovering what resides in the depths of their hearts. She therefore paints intuitively, bringing the hidden beauty of an individual to the surface of the canvas.
Guardiola translates that intangible yet very real aspect of who people are through flora imagery. Her flowers consequently embody human characteristics. In some paintings, petals gingerly open towards the sun, much like a human would guard their heart before slowly opening up to someone new. In other paintings, the flower petals peel back so that the pistil looks like it’s hissing at a competitor.
Guardiola’s brushstroke and color scheme say as much about a person’s soul as what she references as her subject matter. By varying the length of her lines, she can depict two trees with very dissimilar qualities, though she uses earthy tones for both. Every aspect of her painting proves a purpose. Even the grass surrounding the flowers indicates the state of emotion the painting conveys.
Susana Guardiola was born in 1964 in Zaragoza, Spain. Her first individual exhibit took place in her hometown in 2005 and she has since gone on to have paintings exhibit in both Europe and the United States.
Website: www.susanaguardiola.com