ARTisSpectrum Vol.30, November 2013 - page 116-117

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ARTisSpectrum | Volume 30 | artisspectrum.com
ARTisSpectrum | Volume 30 | artisspectrum.com
117
I
nfluenced by architecture and inspired by the scenes, environments,
and emotions experienced through decades of world travel,
Fred
Mou
’s sketches and paintings contain both structure and fluidity.
Through angles and linear constructions, he conveys an architect’s love
of form, a need to delineate through geometrics, to define the elusive
relationship between man and nature. His works are often amorphous,
biological in color and movement, extolling the wonder the artist feels
in all that is not man-made.
Mou reveres the tints, hues, and light that bestow beauty upon our
planet. His “sky ceiling” touches and illuminates his expressionistic
view of nature. He reaches for the sublime, and in doing so, conveys
an optimism that uniquely speaks to every viewer. His often-whimsical
extrapolations of human subjects are integral to the work, framed by
subtle forms, serving as paradigm for humanity’s link to architecture
while inexorably tethered to nature. Mou succeeds in illuminating his
subjects with the keen eye of a practiced global observer, achieving a
sentient body of work that transcends the disciplines of architecture
and the unpredictable aesthetic of life itself.
Small Hassel Acrylic on Canvas 34” x 27”
Fred Mou
T
he oil and ink on paper creations of French artist
Roni Fées
are as symbolically emotive as they are
visually compelling. Blending rich vibrant colors with
strong lines and surreal and expressive forms, Fées
offers the viewer rich stories created from a tapestry of
images, stories that speak of deeper life meanings, the
complex truths to be found in city life, and the virtues
of love and humor. Inspired by painters as diverse
as Monet, Ingres, Botticelli, and Dalí, Fées’s subject
matter is diverse in scope, with a focus on landscapes,
cityscapes, and figurative forms.
Fées has also been inspired by the photography of
his father, who early on introduced him to the simple
elegance of form and all the beauty there is to be found
in the intricacies of natural light. Other photographic
influences include G. Hoyningen-Huene, Ed van der
Elksen, and Carol Klekner. However, his artistic vision
is mostly stirred by his passion for the female form, a
theme that he comes back to again and again in his
work. As Fées remarks, “The woman is the world’s best
creation.”
A hallmark of Fées’ work is the playfulness with which
his subjects are rendered. Compositions are fluid and
full of movement, yet at the same time edgy and brimming with the unexpected. His passion for color and his unique use
of natural light only add to the energy of the work, resulting in dynamic paintings with layers of meaning just waiting for
the viewer to discover and explore. Fées describes his process as such: “I sometimes deviate from figurative impulses and
lean toward horizons that are dreamlike and fantastic. Everything I create, I create in joy.”
Roni Fées
Unreal Sun Oil & Ink on Paper 20” x 26”
Satira Oil & Ink on Paper 20” x 28”
Roni Fees
F
or
James Chisholm
, communicating his experience of nature to
the viewer is the driving force behind his paintings. “I paint and
draw every day,” he says, “most of the time outdoors, whenever and
wherever.” Working in oils on linen and canvas, the artist expertly
recreates the feeling of outdoor light, air and space in his paintings,
giving them a strong physical presence and making each scene
come thoroughly alive. He captures the colors and textures of New
England’s forested environments, juxtaposing the tones of trees and
fields with the more intense colors that are used to show the man-
made incursions into those landscapes.
Chisholmuses his strong sense of line and perspective to create images
that seem at once casually observed and rigorously composed. In his
pieces, the artist begins with a central image or idea and then works
out from that, creating an organic sense of balance that firmly grounds
each image. “As far as the actual painting process is concerned,” he
says, “I find something in the middle distance of a view that holds
my eyes; then start in the middle of the painting surface, and keep
working on it daily until everything—the surface, the depth illusion
and the tonal key—all pull together and seem right.”
Millbrook South Oil on Linen 50” x 40”
James Chisholm
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