Tag Archives: Visual Arts

Tereza z Davle…une photographe humaniste..

Tereza a Ivana

Tereza a Ivana

I must admitt that it took me quite a while to write this post.Not sure why, something personal perhaps, maybe I experienced a meeting with a special and magical person, who knows.I have been following Tereza’s work for quite a while now..her unique vision as well as my fondness for the media she works in. We sort of kept in touch, mostly in the Praha art clique, it is not very big an somewhat closed in.Then I had the pleasure to being invited to her recent opening at Kamzik..a bar/gallery I remember well from the days I like to call when Praha was still Bohemian.I was immeditely struck by her magical personality and how it echoes in her work.I think the moment that summarizes this was at the Kamzik opening and I was outside having a smoke with an gentlemen who has been involved in the theater and was also helping behind the bar. We started chatting and he wanted to know who I was and how I knew Tereza. I told him our little history, but also stressed the fact that during the societal period in which we live in, where thieves and crooked politicians play more of a significant civilization duty that artists…people like Tereza need special care, protection from the evil and like minded souls to be around with. I even had a similar conversation with the Czech sculptor Ales Hnizdil, about the same theme.

So, since I changed the focus of this blog to concentrate on living artist I am in contact with and admire, I will showcase more of Tereza’s work as time goes on…

It was an honor to meet her.

Hotel de France Tereza z Davle

Hotel de France Tereza z Davle

Friends(Kamarádky)   Tereza z Davle

Friends(Kamarádky) Tereza z Davle

Curves Tereza z Davle

Curves Tereza z Davle

Tereza has quite a lot of press written about her, a nice synapse from Wikipedia..and of course her own website…Dětství prožila v Davli. Vystudovala střední ekonomickou školu, pracovala jako recepční nebo jako asistentka v reklamní agentuře. Většinu volného času trávila ve skupině umělců a bohémů okolo baru Kamzík v Kamzíkově ulici v Praze, kde měla své první výstavy.Začala fotografovat v roce 1993, poprvé vystavovala v roce 1996. Je samoukem, fotografuje profesionálně portréty a akty, zpravidla černobíle, na klasický film.[1][2]V současnosti se živí jako fotografka aktů, které vytváří pro soukromé účely zákaznic. Nadále pokračuje i ve volné tvorbě, kde se vedle aktů a portrétů začínají objevovat také nalezená zátiší. V roce 2009 vydala obsáhlou monografii Feminissimo.Tereza z Davle žije v Kounicích u Českého Brodu. Má dvě děti – syny Olivera a Alexandra.

I have a section on this blog for her work, I sort of had the chance of vision better to write posts about  living artists I admire, rather than staid historical pieces…Tereza ShowcaseI also wrote about her on my other blog, THE GEMS OF CZECH PHOTOGRAPHY

?Next Level Boss

 I’m trying to move into another format.

Vertical a.k.a. Portrait

notice I put my signature at an angle so it can be
Horizontal OR Vertical!

Anyway, still the same 8.5 x 11 colored acid-free paper with Acrylic, ink and color pencil.

 (c)2012 Ralf Schulze

Guy Garnier – Collage artistique contemporain de papiers.

Visual artist-Recyclage artistique par collage de papiers et prospectus sortis de ma boite à lettres.

I am somewhat amazed at how little has been written about him. I have a particular fondness for collages, so   I noticed his fine creations right away. Sharring!

The dadaists further developed the collage technique recently discovered by Pablo Picasso and Georges Braques in Paris. Like the cubists, the dadaists pasted papers, fabric and other two-dimensional materials to their works, breaking down the barrier between art and everyday life. But the dadaists abandoned the pretense of still life or other identifiable subject matter in favor of abstract collages, and they cast their net far wider for their source material: the collages of Hannover dadaist Kurt Schwitters, for example, included such items as transportation tickets, calendars, candy wrappers, lace, printed pamphlets, maps, and other disposable ephemera collected in the course of the artist’s daily outings. Collaged together, they formed a chaotic visual diary of modern life.

art collage odd


collages great nedium art striking
Guy Garnier est un artistecollagiste français, né dans le marais poitevin à Damvix en 1948. Il a d’abord pratiqué la peinture à l’huile avant de s’adonner au collage de prospectus et feuilles de magazines sortis de sa boite à lettres.Créer, c’est mettre en scène des réalités ou des rêves que l’oeil de chacun verra de sa propre expérience
Depuis une vingtaine d’années Guy Garnier préfère le papier pour ses créations et « recycle » avec frénésie tout ce qui déborde de sa boite à lettres de prospectus et de publicités.
Le papier est déchiré ,lacéré, froissé,décoloré ou rehaussé de couleurs , puis collé sur un support cartonné (un vieux calendrier par exemple).
La mise en scènedes formes ,des couleurs ,des harmonies, peut être programmée mais très souvent le tableau se construit de lui-même , les morceaux de papiers s’assemblant comme par « magie.J’adore cette transe qui me parcourt quand l’évidence d’un tableau s’impose et m’accapare entièrement.
De ce plaisir personnel naît un désir de partage lors des expositions . Les compositions de Guy Garnier ne sont pas hermétiques, elles s’ouvrentà celui qui trouvera une faille pour y entrer et s’abandonner à ses propres désirsguy-garnier-collages

Roberto Kusterle, un fotografo superiore!

Roberto Kusterle è nato nel 1948 a Gorizia.
Dagli anni Settanta lavora nel campo della arti visive, dedicandosi sia alla pittura sia alle installazioni. Dal 1988 inizia ad interessarsi alla fotografia che è diventato il suo principale mezzo espressivo. Vive e lavora a Gorizia.
 italian superb photographer
 Roberto Kusterle was born in Gorizia ( Italy ) in 1948.
Since the Seventies he works within the field of the Visual Arts, devoting himself to painting and installation works. Since 1988 his interest for photograhy begins, that has become his primary way to express himself. He lives and works in Gorizia
 fantastic Italian Photographer
His Main WebsiteThe amazing galleries

Dino Valls, a Spanish painter born in 1959 in Zaragoza

Now, this one is total delight and extravagance to the fullest, i like to say when i come across some stunning piece of an art.
 “Having previously obtained a degree in medicine, he is now one of the Spanish representatives of the vanguard of figurative art. His painting, elaborating and expanding the methods of past masters, centers on the human psyche by using figurative techniques only as a formal support in which to project a conceptual content laden with profound psychic weight, where the most obscure pulsations develop in a symbolic process of intellectualism. He has participated in important international exhibitions of contemporary art, and has held numerous showings in Europe and the United States.
He is a self-taught artist with an early involvement in drawing. He began painting oil in 1975. During his medical studies at the University of Zaragoza, he continued his painting and submitted his work to various art competitions in Spain and France, where he receive several awards.
His passion for ancient painting moved him to study seriously the techniques of the great masters in the major European museums. In the mean time, he continued to participate in one-man and group exhibitions.
In 1991 Valls studied the art of egg tempera and the technique of the Italian and Flemish masters of the 16th and 17th centuries. Egg tempera remains his favorite technique for painting.
One of the privileges by those dedicated to art is that related to a special form of possession. Although a person’s desire to grasp another may never be completely fulfilled, being able to create an image the possession of which begins and ends strictly in the actual creation, is an eminently artistic prerogative, that in addition to being much more satisfactory, accompanies another aspect which is not of less importance: he concept of endopathy, according to which, in order to paint a figure, one has to become it. Just as all paintings are self-portraits, only mirrors hang on the walls, which means an extension of the relation between participation and effect upon each other by the work of art, the author and the spectator.
On the other hand, the relation between the person who looks and what is being contemplated causes archetypes to appear and ends up by establishing an active communication between the work and the receiver, as it is based on the power of projection which the unconscious causes to arise in the person looking.
The gaze discovers the painting and this reveals what we only know intuitively: the irrational. It is during our attempt to rationalize it that the conflicts arises, originating in our collective cultural unconsciousness, which scientific research continues to try to unmask.
Just as dreams disguise themselves as reality to make themselves recognizable for the consciousness, Dino Valls` painting conceives his artistic ideas based on the artist’s interior unreality. Neither realism as naturalism, nor a fleeting personal view of the real world concern him. It is not the exterior and its objective reality that attract him, but rather the contrary. This is a search inside oneself, plunging into the warehouse of what underlies everyday experience. In his work, the painter reveals these profound conflicts, and the spectator recognized them as part of his internal struggle, as they belong to the same human essence”
Alicia Guixa, Catalogue, “Dino Valls”, Madrid (December 1993)
Alma’s FB Album

Dorianne Wotton a Human Horror Museum

I often have converstations, even with myself, about the fraility of the border betwen madness and creative genious. There are many artists that explore this boundary, coming as close as possible, often crossing it, sometimes returning. Dorianne’s work definitely and immediately impressed me with this endeavor, her photographs even more. Ponder….
 Ghostly Diaporama surreal photo inner psyche
I present a physical feature: two arms, two legs, a head … but three eyes. The latter appeared a few years ago. I studied quite conventional. It is self-taught learning I’ve done photographysince 2007, when I received my first camera. I made this learning “on the job”, however, with the guidance, advice and criticism from various professionals.This path can have disadvantages. It nevertheless has the advantage of free technical constraints and have a more instinctive, more free.

Prey has always been a blatant delusion of contradictions, I still have not stopped to catch my hallucinations abandon me to the subject that I contemplate, drunk innumerable associations of ideas, drive my imagination uncertainty and indeterminacy of his fancy.

Led by a form of anger, a sordid distress ironic, I have always sought to express in my creations a sweet deception, or an elegant unease about the external reality. The use of different embellishments to make my reality more acceptable in the eyes too quickly encountered is a sometimes necessary evil … In this respect, photography has proven to be a powerful vehicle for me to transcribe these mental images that I did express my visions to materialize. It is also an introspective work to manage my demons, my neuroses, my instability contain, suppress my passions. Loving the solitude inherent in the shooting, the image capture has quickly become a great physical and intellectual joy.

My photographic approach is mainly devoted to the representation of the aesthetic of desolation. This is to show the world as I feel it, acknowledge the dark, the mysterious … Pointer what we understand of poverty, weakness, banal, ugly … Attract attention on what makes sense on these multitudes of small things that eyes do not linger because they do not fit into the aesthetic or moral. Interest and show what the world can have a dark, painful, and so on. Recognizing that everything is inhabited by the chimerical, the fictional, imaginary, unreal, the short novel.

Everything becomes potentially object and subject of my work, provided they meet the artistic process.

This is then characterized visually, whatever the subject, ruptures, and discontinuities poietic offset, and the mixing of the amalgam.

Far from the pretentiously sophisticated tunes away from the technical and aesthetic codes, it’s all about feelings. I do not, therefore, by a photographic format or taboos. Grain, blur, textures, superimposed deformation accidents. I make all he can to this process.

The means? The exodus mental, whatever form and wherever it leads me … Exploration and sublimation affects the most extreme … The exaltation to the aesthetic of desolation that the world and my contemporaries give me daily … The confusion, values ​​and dogmas … The illusion to melt into another world, surrounded by my fellow sweet and oppressive narcotic …

The result? A long and tasteless proselytizing, irritating anachronisms, a sum of abjectness and arrogance before the teeming wildlife, tasteless and gregarious, a hebephrenia frivolous, feverish instability, an unflappable character, a litany distressing and distressed. An oxymoron incarnate. Everything and its opposite. Black on white.


Tim Jones…hyper psycho surrealism of the everyday…

 surreal psychosis sculpture soft
Common everyday familiar object suddenly transformed into your worst subconscious nightmares…

A contemporary artist who specializes in dreaming up creatures that could be considered “freakish”, “malformed” or generally abnormal. I often focus on combining opposite characteristics such as innocence and menace in an effort to achieve a uniqueness in my characters and creations, and hope that I can achieve a somewhat comfortable halfway point between cute, sad, humorous and damn right terrifying.

 i make weird things

reality play…collage…

collage surreal reality alter
I have always worked in collages as a medium for sketching, rapidly taking chucks of separate realities to form a new one. Seriously I stared to work in the medium when I moved to the Czech Republic and living space was scarce. I began to notice that with this increased concentration to the medium, the pieces were not just sketches anymore, but stand alone pieces. With a bit of digital enhancement and good quality printing, the pieces become more flowing and uniform than in their original stage.

The physical-ness of collage-making appears disarmingly simple so that their significance easily escapes notice. When they are taken together, as an integrated series of transformations, a quite surprising symbolism appears. The activities entailed in making and physically transforming collages can then be seen to embody the logic of psychological development. These activities comprise an extended metaphor: they symbolize the growth of the human mind.


sculptor brian craig wankiiri

figure scupture bronze cast
“Brian Craig-Wankiiri studied at the New York Academy and received his BFA from Pennsylvania State University. One of his life-size bronze sculptures was represented in the 2004 Lyme Academy College exhibition, Artists Talk, in which he also participated in a panel discussion. He is represented by John Pence Gallery in San Francisco, CA.” 

It was a surprise but very positive event to meet up in cyberspace with Brian. Turns outwe have a common thread in the past, Tallix Art Foundry in Beacon, NY. I worked there as a metal finisher primarily, Brian was coworking there with Audrey Flack right after I departed for Seattle! Small world, but a very pleasant one at times like this!

brian craig wankiiri
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