ARTisSpectrum Vol.30, November 2013 - page 86-87

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ARTisSpectrum | Volume 30 | artisspectrum.com
ARTisSpectrum | Volume 30 | artisspectrum.com
87
Natalia Hughson
Cleft Oil & Acrylic on Canvas 36” x 24”
A
Ukraine-born psychiatrist,
Natalia Hughson
found her inspiration as an art therapist, linking the creative arts to
mental health. Referring to her unique style as “Dynamic Creativity,” she is currently inspired by music: “When I am
playing the piano, I see images that later appear in my art,” explains Hughson.
Hughson’s talents embrace a wide creative palette—from surrealism, abstract, and post-modernism to computer graphics
and fantasy art. Each technique fully explores its subject, drawing on imaginative distortions of reality. Favoring surrealism,
Hughson explores historical art to convey what nature cannot. In
this, the artist often employs amorphous, fluid shapes and entwining
colors to arrive at content that is at once subliminal and seminal. Her
works are escapist, revelatory, a journey into the subconscious. Her
paintings present a duality of contexts, entertaining the eye but also
reaching into the soul, bringing the creative process to the surface. She
transcends time, moving from past epoch to present day, managing in
subtle ways to communicate the emotional beats of an era.
In depicting florals and pastoral nature, Hughson exceeds preconceived
boundaries of shape and color, moving the viewer to delve beyond
form and line, to create balance from within. Human subjects are wildly
interpretive, suggesting emotions in conflict, unsettled, a preference
for movement over static. Her works are evocative, denying no truths,
accepting reality, moving from the inner self to nuances that create
a lasting impression. She wields colors with direction and purpose,
exclamation points in muted pastels or bold saturations, each defining
a feeling, from whimsy to earnest. Regardless of style, Hughson’s
diverse body of work captivates and enthralls, inviting introspection,
moving viewers to sotto voce expressions of delight and surprise.
Natalia Hughson
Sierra Desert #2 Oil on Canvas 36” x 24”
T
he dreamlike but meticulously constructed Surrealist paintings of
Fabrizio Pinzi
present a world that the viewer almost knows. Pinzi
depicts human and human-like figures traversing illogical landscapes:
buildings with no interiors, skies with no horizon lines, and surfaces that
seem to be both solid and liquid at the same time. And everywhere,
there are art world allusions. But while the imagery is wild, Pinzi’s
compositions are actually compact, free of extraneous detail, and
ingeniously plotted so that each element interacts with another and the
scene works as a whole.
Pinzi’s symbolism can be alternately more and less straightforward than
that of Surrealism superstars such as Dalí or Breton. His work does not
dabble in the classic free association, which could make Surrealism
thrillingly unpredictable but also frustratingly opaque. Instead, Pinzi
makes one point at a time and invites the viewer in. Also unlike the
Surrealist giants of the past, Pinzi updates his scenes to include entities
and fashions that the modern audience can identify with, be it a certain
cut of swimsuit or a sprawling oil refinery.
Pinzi was born in Pistoia, Italy and today lives and keeps a studio in the
Tuscan countryside.
In Principio Fu L’Albero Oil on Canvas 28” x 20”
Fabrizio Pinzi
Dušan Swalens
D
ušanSwalens
’ captivatingnature photography
manages at once to bring to light the mystery
of the many beautiful forms of plant life. Swalens’
self-stated goal is to “capture the moment of
creation.” His photographs often center, with a
shallow laser-like focus, on a single closed bud. It
is poised with its head half-reared, colors ripened,
small leaves still furled but positioned to grow.
Swalens immortalizes these flowers not simply as
closed, but just on the point of opening: an image
of potential energy, and of time yet to be passed.
In his images of wider scope, such as photos of
open flowers or leaf bunches, Swalens again
creates a sense of moving time by strategically
deploying his depth of focus. Swalens lingers on
a single petal, allowing the rest of the plant to
fade by degrees into the background and offering
almost a three-dimensional effect – as if his subject
were moving, almost abstract, even growing before the viewer’s eyes. The artist is interested in the mechanism in the brain
that links what one sees with different, unrelated images in one’s memory.
Swalens was born in the Czech Republic and currently resides in Belgium. He has published two books, one inspired by the
four elements and one an in-depth look at the natural world.
Bio 0103
Inkjet Print on Hahnemühle FineArt Photo Rag Ultra Smooth 20” x 28”
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