ARTisSpectrum Vol.30, November 2013 - page 84-85

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ARTisSpectrum | Volume 30 | artisspectrum.com
ARTisSpectrum | Volume 30 | artisspectrum.com
85
H
aitham Jabbar
’s digital paintings combine bold
designs with the delicacy of traditional, hand-
wrought image making. Jabbar describes his work as “a
combination of planned and spontaneous actions”, and
this is apparent in the way he constructs forms and blends
colors. Choosing a simple, repeatable pattern, Jabbar
finds small variations in a single shape while keeping the
palette to a few manageable, dramatic color contrasts.
Rectangles and squares are never perfect, but skewed and
manipulated just enough to bring them into the human
world. Jabbar’s digital paintings are delightfully, illogically
unpredictable. Transcending two dimensions without the
benefit of contouring or shading, they sit and lean against
one another with their own weight. But dynamic as his
compositions are, Jabbar never allows them to become
cluttered or confusing. Clarity of line and silhouette are
of utmost importance, with some works even being
streamlined to one or two shapes amid a dark background.
Jabbar was born in Baghdad and today divides his time
between London, Cairo, and Beirut. He works as an
architect and urban planner in Europe, Asia, Africa, and the
Middle East.
Construction 3 Digital Painting - Inkjet Print on Paper 23.5” x 23”
Haitham Jabbar
I
nfluenced by his brother and father’s jazz collections, and inspired by the
music he heard in clubs in Manhattan and Europe,
Alan Reddick
plays
his favorite music while he paints. His deeply personal impressionistic
works often reflect sounds, conversations and life events characteristic of
the venue portrayed. He skillfully employs cubism to eloquently capture
the emotional beats of his subjects, beats that register movement with a
unique urban score. The centerpiece in each work redefines what it means
to be alive in a world connected to the sounds of people and music.
Through fluid line and form, Reddick creates a contemplative context for
each subject, yet in content, he is purely visceral, emoting characterizations
that defy convention. His surrealist impressions reveal, in rich sanguine
tones, the musical artists that form the fabric of decades past. In this, his
works achieve a timeless quality, one that entreats the viewer to draw
profoundly personal conclusions. His surreal accents and poignant use
of color lean toward Fauvism. His pointillism constructs a dimensional
element that further distinguishes his unique approach. Reddick, perhaps
like no other artist of his time, has succeeded in capturing the urban
American spirit.
The Brooklyn Bridge 1912 Oil on Canvas 52” x 37”
Alan Reddick
L
atvian born artist
Maya Vinokurov
developed a passion
for art at an early age, discovering the inherent beauty in
everyday objects andnature. Her Art Deco and Surrealist works
draw on various techniques and media—oil, acrylic, encaustic,
pastels and watercolor—to portray uplifting emotions and
tranquility. Her colors move fluidly, conveying a harmony
between nature and humanity that is at once organic and
aesthetic. She is accomplished and gifted in creating thought
provoking expressions, uniting contemporary techniques
with those of the old masters.
Vinokurov’s works reflect an optimism and serenity that is
contemplative, drawing the viewer to lingering introspection.
Her use of color is starkly intuitive, exuding a brilliance and
contrast that compels study and excites the senses. Her
humanistic images are metaphorical and expository, revealing
emotional insights that are often elusive. In depicting nature,
Vinokurov clearly has an affinity for the world around us,
combining talent and insight to create expressions that are
overtly palpable. Through movement and balance, through
delineation of form, the artist achieves what viewers hope
to see—works that are uniquely revelatory and profoundly
inspirational.
A Reflection of the Future Acrylic on Canvas 20” x 20”
Maya Vinokurov
Sarah Mitchell Munro
N
ew Zealand artist
Sarah Mitchell Munro
’s
evocative and ambiguous paintings are the result
of her unique artistic process. Influenced by the work
of cinematographers such as Stuart Dryburgh, Edwardo
Serra, Rodger Deakins and Janusz Kamiński, Munro
records short, digital films and transforms the stills into
paintings. According to Munro, this approach helps her
explore the effects of lighting and composition on the
mood and narrative of an image.
Examining themes of domesticity, femininity and the
character of contemporary life, Munro focuses on creating
images that are mysterious and will draw the viewer in.
“I want my art to have a calming and reflective quality
to it and a beauty that draws my viewers in rather than
pushing them out,” she says. Munro extends this idea
beyond the paintings themselves: in creating exhibition
spaces, she pays particular attention to the mood and energy of the gallery so that viewers feel comfortable sharing their
responses to her work, with the result that many of her shows inspire lively discussions.
Although her work is largely inspired by film, Munro is also fascinated by the tactility and expressive use of paint. In combining
both painting and cinematography, Munro creates distinctive, intriguing works of art.
At the Window Oil on Canvas 29.5” x 39.5”
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