ARTisSpectrum Vol.30, November 2013 - page 88-89

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ARTisSpectrum | Volume 30 | artisspectrum.com
ARTisSpectrum | Volume 30 | artisspectrum.com
89
T
he unbounded movement in
Francisco Canas
’ oil-
and-acrylic abstract work is proof that in a non-
representational piece, colors and lines can have as much
weight and momentum as anything recognizable or three-
dimensional. Canas uses pure color as his figures, dripping it,
flinging it, and dragging it across the canvas in long streaks.
His compositions include a thousand small entities, and his
palette is full of contrasting hues. Color is applied with evident
speed, but also with an essential confidence that gives each
abstract form its own, wholly-formed presence.
But though the many elements should be chaotic, each work
has its own energetic and tonal cohesion. The colors hurtle
through space, but it is Canas’ unique talent that, with careful
deployment of light sources and atmospheric shading, he
can actually create that illusion of space and environment,
of his dashed pigments having somewhere to go. The viewer
believes not only that these skids of paint have real weight
and movement, but that they have real intention.
Canas was born in Colombia and today lives in New York. He
is also an accomplished watercolorist and landscape painter.
Bodegon Acrylic & Oil on Canvas 37” x 37”
Francisco Canas
B
orn in Buenos Aires and having lived in Hamburg and
New York, self-taught artist
Juan
Fernando Silva
draws
his inspiration from the impressionist styles of Van Gogh, as
well as the contemporary artists and vibrancy of New York
and Germany. His colors and constructs reveal a relevance and
passion for each subject, portraying with an elegant simplicity
New York’s everyday life through the eyes of a modern day
impressionist. In his search for fulfillment, Silva captures the
fragile, elusive motion of a city that is both alive and historic.
Each work metaphorically proclaims the beauty and charm of
places that those both familiar and unfamiliar with the city
interpret as the essence of New York.
Through movement and exaggeration, Silva’s dramatic
oils connect profoundly to each viewer. This link is spiritual,
imaginative, inescapably transcending from eye to heart the
feeling that originally inspired the artist to create the work. In
this, Silva’s works are fundamentally surreal and fluid, depicting
landmarks and scenes imbued with an optimism bestowed by
a truly imaginative observer. Silva’s modern day impressionist
oils defy convention, extolling the virtues of the early masters, while adding the soul of a contemporary artist to each
interpretive brush stroke.
Bryant Park’s Rendez vous Oil on Canvas 36” x 36”
Juan Fernando Silva
B
ritish artist
David W. Whitfield
combines the artistic schools of
Surrealism and Expressionism to create engaging, emotive pieces
that are as visually stunning as they are laden with meaning. Each
watercolor composition on paper consists of figurative forms that
have been effectively obscured by abstract lines, geometric shapes,
and wide swaths of color to imbue a painterly feel to the overall effect.
What makes Whitfield’s work so unique is that the paintings are able
to stand alone in their own right as purely visual compositions that do
not rely on their subject matter for meaning.
Above all, Whitfield aims to express the full range of hidden thoughts
and machinations of an individual’s psyche, and how this intersects
with the unique experiences that this person has encountered in his
or her life. As Whitfield explains, “I aim to penetrate the social exterior
and present a sense of my observations through visual imagery, in
the form of the aesthetic composition of a painting.” The freedom
of expression captured in each piece serves to release the physical
constraints of the recognizable form, enabling the viewer to go deep
within to explore all the meanings and significances that lie beneath
the surface.
Untitled 218 Watercolor on Paper 30” x 22”
David W. Whitfield
L
aurent Bardou
’s fascinating mixed media images go beyond
curiosity or experimentation to become true feats of the
imagination. Bardou begins by sketching the idea in his head and
choosing the vintage pictures he will use as the basis of his scene.
These images, a mixture of hand-painted landscape, black-and-
white photography, and text, are the foundation of Arcatown and
Ferret City, two lost cities of Bardou’s creation. They are scanned into
the computer and combined, trimmed, tinted, and reshuffled into
impossible landscapes crammed with detail and pure wonder. This
is an artist who creates a fantasy history with his work, presenting a
world both untouchable and deeply credible.
Part of Bardou’s unique ability to affect his viewer is due to his technique,
which allows the initial images to retain their integrity. An aged
photograph of a turn of the century boating crew is not enhanced or
ironed out, but keeps its unevenly-lit charm. Bardou creates around it,
to immerse it in his dream. A modern, full-color building might loom
behind, proportions slightly skewed, while a non-existent skyline may
stretch above as a stamp from years ago decorates the corner. In
these image, text often runs over and behind the middle ground and
becomes part of the scenery itself.
Laurent Bardou was born in Arcachon, France, where he continues to
reside today.
La Chapelle de la Villa Algerienne
Mixed Media Print on Canvas 35.5” x 26.5”
Laurent Bardou
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