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Artist Profiles -
Volume 18
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If 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. www.artmine5000.com |
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Artist Profiles -
Volume 18
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Airco Caravan’s richly saturated works of political irreverence, pop iconography and bold color shroud deeply provocative questions. Caravan’s aesthetic echoes decades of tradition in post-War-holian pop art, further mutating, swapping and fusing elements of her subjects to engineer bittersweet and coquettishly sardonic attacks on government figures, pop stars and corporate powers. The mixed media choices she employs as canvases for her screen prints and stock craft materials subvert many of their original purposes, using children’s patterns for blankets and curtains as backdrops and borders surrounding seedy figures clothed with religious and political messages. Her subtly blended imagery both invites aesthetic satisfaction tonally and compositionally, yet hangs its grievances prominently against the powers she chal-lenges.Airco Caravan lives and works in Amsterdam, where she has exhibited at the Stedelijk Museum and Hype Gallery, among other venues. Her work has appeared internationally from New York City to Tokyo and been featured on the TV show “Homes by Design” on HGTV and Bravo.
www.aircocaravan.com
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Artist Profiles -
Volume 18
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New York artist K L Campbell’s work challenges the viewer with unexpected emo-tional force. Her sub-jects exist in a liquid, or cosmic, space. Of course, there’s also much activity in what we often call ‘negative space’. With apparent brush strokes that create lovely textures, Campbell is ever-present. The negative space roils, is filled with tumult that builds tension with the dominant figure. The open form of her work and the figures’ ambiguity lends an introspective tone to the compositions. At times, figures seem to rise from their backgrounds as one might emerge from the depths of a body of water, or perhaps they recede from whence they came. Regardless, one feels the raw chaos of emotion reach out from the canvas itself.
Campbell studied painting in Spain at Barcelona’s Escola Llotja, and has exhibited her work extensively in New York and internationally. She lives and works in Brooklyn.
www.klcampbell.com
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Artist Profiles -
Volume 18
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Beth Parin’s photographic constructions pose a riddle to viewers by bringing multiple incongruous images together. The black and white photographs appear unaltered at first glance, but her manipulations of perspective, space, time and continuity quickly become evident. The subtlety of her alterations invites our desire to explain the transformations that have taken place. That same subtlety, meanwhile, trumps any stable reduction of the works to one specific understanding, instead inviting playful engagement. Most of Parin’s works manipulate our instinct to dissect photographs into separate planes. Shadows that belong to one area overlap into others, regions that suggest depth turn out to be images within the image, and figures in the foreground bear no apparent relation to their surroundings. Through these tensions Parin confronts viewers with their expectations and assumptions regarding photography, calling these into question and demanding their reassessment. |
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Read more... [Beth Parin]
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Artist Profiles -
Volume 18
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“An abstract painting is not what you see,” says Anne Elisabeth Hogh, “it is what it makes you feel.” She also speaks of the necessity of expression, the desire, the obsession. A childhood spent on the coast of Denmark revealed to Hogh the ever-changing nature of light, and she brings this afflatus to every work she creates. She expresses herself in layers of acrylic, and her art roils and shimmers with a primal urgency that borders on aggression. But each viewing opens itself up for renewed contact. “Let the paintings lead you, and then look again,” she instructs. “The light changes, and suddenly you see something else.”
Hogh’s canvases are suspended from their frames by metal lacings, allowing the viewer to approach each piece as an internal phenomenon suspended outside the self. And Hogh means for each painting to stake for itself a place outside of past and future—capturing a present moment, the time and place where life is. www.Art-Mine.com/ArtistPage/Anne_Elisabeth_Hogh.aspx |
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