You’ll love this idea!


 

 

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Hi everyone!

First, I want to let you know that I am getting ready to feature more awesome, creative fine artist painters in the very near future, but I have been recently sick. I think I’m finally getting better because today I had the strength to plant some herbs and flowers. A very God sign (I meant to type good, but God works just as well) ,  I think!

In the meanwhile, I wanted to share my new line of mix and match “Circus Buddies” items to delight your Inner Child! I am opening up a Shopify outlet on my Facebook page Kirsteinfineart in 5 days, but you can get your items at a discount early  click   here.

Browse the collection, and let me know if you have a favorite! If you choose to click the above link, it will take you directly to my manufacturing outlet Fineartamerica. Here is how it works. Click on an image you prefer in all Circus Buddies images. Then look to the right for a menu of all the various items. You will see many choices: pillows, duvet covers, shower curtains, prints, posters, cards, totes, beach towels, etc.

Have fun “shopping” with my Circus Buddies!

I hope to be back in gear in a few more days, so can get out some more artist features! Meanwhile, enjoy your summer!

 

Jan Kirstein

Click on these thumbnails to enlarge.

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Check out 11 Female Abstract Expressionists Who Are Not Helen Frankenthaler on Artsy


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Check out 11 Female Abstract Expressionists Who Are Not Helen Frankenthaler on Artsy: https://www.artsy.net/article/artsy-editorial-11-female-abstract-expressionists-who-are-not-helen-frankenthaler

Miroslava Rakovic: Dreams and Perceptions


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“I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel…..” said the revered writer Maya Angelou, who passed away yesterday at age 84, leaving us her legacy of great poetic writings of wisdom.

 

This quote by the late great writer Maya Angelou directly applies to the paintings of Serbian artist Miroslava Rakovic.

In her paintings, Miroslava is following feelings and dreams. In her collages, or other works where she uses different media on paper, canvas or in digital work, she reflects a strong symbolic character; an iconographic search that follows the changes in her personal life.

 

Click on thumbnails to enlarge.

 

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Click thumbnails to enlarge

Biography

Miroslava Rakovic was born in Novi Sad, Serbia (former Yugoslavia).
She graduated at the Academy of Art Niv Sad . She works in the area of illustration, design and painting, and currently she is a professor of graphic design.
Her work has been display in a selection of various exhibitions in Serbia.

 

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Contact artist:

 

http://www.arteafk.com/miroslava-rakovic-art

Reading Cy Twombly: Poetry in Paint


Reading Cy Twombly

By Mary Jacobus

September 16, 2016
ARTS & CULTURE
These images, selected from my book Reading Cy Twombly: Poetry in Paint, indicate the range and provocation of Cy Twombly’s works on canvas and paper, pointing especially to his inventive use of literary quotation and allusion throughout his long career and his relation to poetry as an inspiration for his art.

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Twombly’s working copy of a paperback translation of Three Secret Poems, by the twentieth-century Greek poet George Seferis, shows his hands-on approach to quotation and revision as well as paint stains from his work in progress. A number of marked passages reappear in Twombly’s paintings of the mid-1990s, notably in Quattro Stagioni (1993–94) and Say Goodbye, Catullus, to the Shores of Asia Minor (finally completed in 1994).

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One of a sequence of related drawings, Venus and Adonis (1978) wittily alludes to Shakespeare’s poem of the same title. Along with a series of cleft heart-shaped (buttock-shaped?) and phallic forms poised in suggestive proximity, each drawing contains a flower-like scribble and a foldout book. Perhaps Twombly is alluding to the “flowers” of poetry as well as to Venus’s rival, the boar who gores Adonis with his amorous tusk.

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Il Parnasso (1964) riffs on Raphael’s Renaissance fresco in the papal Stanza della Segnatura. Twombly responds in his own fashion to the auratic cultural icons of Rome, drawing attention to the missing role of painting in the representation of learning and culture. The play of line replaces the playing of Apollo’s lyre at the apex of Raphael’s design. Signing himself in the shuttered rectangular window around which Raphael’s fresco arches, Twombly draws attention to the flat surface of the “wail” or support.

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The early series of works on paper Poems to the Sea (1959) shows Twombly’s use of horizon line, wave signs, and quasi-writing, along with thick creamy paint, to eroticize the abstract play of repetition. In a series that makes reference to Sappho, Twombly also seems to be alluding to the typographical experiment of Mallarmé’s shipwreck poem, Un Coup de Dés, as a sequence of rhythmic marks and blanks. Non-referential signs tussle with the impulse to “read” and “write,” as if words and thoughts were about to be born from the waters of the Mediterranean.

 

 

 

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Synopsis of a Battle (1968) takes Twombly’s blackboard paintings of the late 1960s in the direction of the era’s obsession with space travel, alluding to the blackboard calculations of NASA scientists as well as his own fascination with weightlessness. Abstruse mathematical formulas and recurrent fan shapes suggest orbiting gyrations, rather than battle formations. Cyanotype blueprints for gravity-defying Gemini and Apollo spacecraft were widely available at the time. Here, Twombly designs his own prototype.

 

 

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Twombly’s paired paintings, Bacchus Psilax and Bacchus Mainomenos (2004) show the winged Bacchus morphing into his identical twin, the raging mad god who unleashes a title of blood. Painted during the bloodiest years of the Iraq occupation, when the first and second Battles of Fallujah brought the heaviest urban fighting since the Vietnam War, the Bacchus series has been linked to the fury of Achilles’s twelve-day brutalization of Hector’s body, towed around the grave mount of Patroclus. Twombly’s work elsewhere refers to the destruction of Sumerian cultural heritage.

 

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CY TWOMBLY, HERO AND LEANDRO, PART II, 1981–84. OIL-BASED HOUSE PAINT, OIL PAINT (PAINT STICK) ON CANVAS, 61 3⁄8″ × 80 1⁄2″. © CY TWOMBLY FOUNDATION. PHOTO COURTESY KARSTEN GREVE, ST. MORITZ.

The middle painting from Twombly’s sequence, Hero and Leandro (1981–84), suggests his interest in the whiteout—an obliteration that is also a kind of memory. As the sea washes through the story of Leandro’s drowning, the liquidity of water and paint eradicate the visible. Drawing on another Mediterranean narrative, Twombly combines his lifelong fascination with the sea with the erasure of a forgotten name, hidden in the darkness at lower right—not Leandro’s, but Hero’s.

 

 

 

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CY TWOMBLY, UNTITLED (TO SAPPHO), 1976, OIL, WAX CRAYON ON DRAWING CARDBOARD, 59″ × 53 1⁄4″. © CY TWOMBLY FOUNDATION. COURTESY ARCHIVES FONDAZIONE NICOLA DEL ROSCIO.

Twombly’s “homage” to Sappho in Untitled (To Sappho) (1976) creates an erotic visual poem out of Sappho’s fragmentary epithalamium, using purple (the mark of consummation and death) both to celebrate and to mourn Hyacinthus’s death and transformation into a flower. The juxtaposition of paint and poetry marks the conjunction of the pastoral strain and the pastoral “stain”—painting and sexuality. Twombly’s relation to pastoral suggests, not so much nostalgia as the modern artist’s inextricable entanglement with sociality.

 

 

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CY TWOMBLY, ORPHEUS, 1975, COLLAGE: OIL PAINT, COLOR PENCIL, SCOTCH TAPE ON PAPER, 55 1⁄2″ × 39 3⁄8″. © CY TWOMBLY FOUNDATION. COURTESY ARCHIVES FONDAZIONE NICOLA DEL ROSCIO. PHOTO: MIMMO CAPONE

Twombly’s recurrent preoccupation with Rilke’s Orpheus sonnets emerges in numerous paintings, drawings, and sculptures. His collage Orpheus (1975) quotes from Rilke’s “Be in advance of all parting” (“be a ringing glass that shivers even as it rings”), beneath a repeated broken line that seems to record a break in the fabric of life. Here, an oblique line has its start in the faint pink of erotic passion. Spare and epitaphic, the broken ascent echoes Rilke’s emphasis on “the realm of decline” inhabited by the poet.

This article originally appeared in the Paris Review.

 

 

 

 

 

 

 

 

Nancy Hirsch Lassen: Collectors’ Choice


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https://www.nancyhirschlassenartist.com

ABOUT NANCY HIRSCH LASSEN
Artist’s Statement

I adore color. . .that’s my passion and, I think, my special gift. I especially love the juxtaposition of color and the evolutionary interplay of color on canvas. Purely contemporary, non-representational paintings intrigue me most at present. I begin my process with lots of texture, line, brushstrokes and glazes, then follow the paint’s lead. The challenge is to keep the excitement of the process evident in the final product. . .fresh and exhilarating!

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The Artist

Nancy Hirsch Lassen is a native of Baton Rouge, Louisiana. She discovered her passion for art early on, and pursued a career in art and interior design. She received her BA degree from Newcomb College in 1975, where she spent her junior year attending the University of Madrid studying art history in the Prado. After Newcomb, Nancy remained in New Orleans where she started her own design firm, Interiors & Extras, now in it’s 30th year.

She is currently represented by Bev’s Fine Art in Raleigh, North Carolina, Bay Life in Bay St. Louis, Mississippi, and has produced numerous commissions in New York City. Recently, forty-eight original pieces were commissioned and installed in the new University Medical Center in New Orleans and she was one of twenty finalists in the Bombay Sapphire New Orleans show. She has commissioned works in the Federal Reserve Bank of New Orleans and her paintings have also been featured in movies and television shows filmed in the New Orleans area. Nancy always looks forward to and welcomes exciting and inspiring new projects and commissions.

 

Howard Sherman: A Bombastic Roar


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Tangled and textured, the paintings of Howard Sherman assert a relentless pace of movement, churning through space with electric momentum. In the reach of brash color, swirling shapes and juxtaposed surfaces, a kind of certainty escapes from the turbulent surfaces of each piece. While frenetic in pace, these pieces do not necessarily incite anxiety, but rather introduce the possibility of peace in the inevitability of constant transformation.

Jan Kirstein

 

Click on thumbnails to enlarge

 

http://www.howardsherman.com

 

 

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“The Chronically Aggrieved And The Super Touchy”
Acrylic, Canvas and Marker
100(v) x 80(h) inches
2017

 

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“Whirling In It’s Own Feedback Loop”
Acrylic, Canvas and Marker
72(vertical)x64(horizontal)x4 inches
2016

 

 

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Whir Of The Big Machine #5″
12(v) X 9(h) inches
acrylic and marker on acid free paper
2016

 

 

Since receiving his Masters of Fine Arts in Painting and Drawing from the University of North Texas in 2006, Howard Sherman has been leading a new generation of bombastic contemporary painters in the Texas art world. Sherman’s typically human-scale canvases carry traces of his background in cartooning, offsetting the loud, raw power of his aggressive paint strokes with a playful sense of humor. His smaller works on paper show an intuitive use of material in a distilled yet assertive manner.
The large paintings facilitate the immense physicality within Sherman’s work, while leaving space for his keen sense of formal resolution. The frenetic and muscular heft of the work is balanced with a measured precision and a thoughtful integration of a number of art historical styles. Sherman’s cartoonish figuration complements his bold use of abstract mark making, embedding into the canvases what could be read as portraits, punch lines or poems. He is constantly refining his visual and conceptual vocabulary, experimenting with sculptural surfaces and collage.
Only two years after completing his M.F.A., Sherman was featured in a solo traveling exhibition originating at the Art Museum of Southeast Texas. His work is in several museum collections and is on permanent display at Bush Intercontinental Airport in Houston, Texas. Sherman has been profiled several times in New American Paintings, his work appears in the 2010 book Texas Artists Today and has been chosen for the cover of the recently released art history book Texas.

 

 

Abstract:Modern/Contemporary by Michael Paglia and Jim Edwards. Rice University is now collecting his personal artifacts for their research center. He has been awarded residencies at the Virginia Center for Creative Arts, School of Visual Arts, the McColl Center for Visual Art, Vermont Studio Center, Jentel Artist Residency Program and the Helene Wurlitzer Foundation. Sherman has been in a number of solo exhibitions across the United States, and his work has been featured in group exhibitions in Texas, California, New York, Florida, Spain, India, and Peru.

 

 

 

 

 

Kenryo Hara: Performance by Calligraphy


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This performance piece by Japanese artist Kenryo Hara combines an ocean of kodai moji calligraphy with the acting out of a dramatic narrative. These photos show the unfolding drama that erupts  from the thrashing marks of an exuberant  calligraphy brush. Loaded with ink  and an emerging storyline, the brush of Kenryo becomes the instrument of magestic manifestation for the telling of an expressive and dramatic unfolding.

Jan Kirstein

Click to enlarge

 

 

Butoh Dance Music Music: 吉本大輔 Dai Sekiguchi engraved ink bok-Koku: Hara Hyun 翏 Kenryo Hara

On the stage, the chief priest of hongaku-Ji Temple, the chief priest of hongaku-Ji Temple, was given support for many people. Thanks from the heart,!☆☆☆
Mr. Kaoru Cecilia Saito ☆ Chako Sawada Hitomi Fukao ☆’s ☆ Mr. Rokka Ando ☆ Sakura Nakagawa Hiro Sugiyama ☆’s ☆ Midori Katoh ☆ Mr. Mr. Hiromi Yamazaki ☆ Tai Kaori-San ☆ Mr. Rie Miyagawa ☆ Masanao Showjiki Sugiyama’s ☆ Day Junko Kasahara ☆… amazing photos on them all!  Thank you so much!!!

 

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Encouraging the young

 

 

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KENRYO HARA : Biography

Born on August 15th 1955 in Mie- Prefecture located in Honshu a region in central Japan.
In September of 2000 Kenryo joined the Kikkou-kai.
The Kikkou-kai studies the art of Kodaimoji under Koho Kato master who is one of the most respected and revered calligraphy artist of this form of Kodaimoji.
Kodaimoji- (Kodai: meaning “ancient” and Moji: meaning “character”) is the most ancient form of calligraphy known in China.
Kikkou-kai has adapted this ancient tradition of Kodaimoji into a new form of art and performance.
Every January The Ueno Royal Museum in Ueno hosts the Kikkouten exhibit. From 2001 Kenryo has continuously shown his work with this annual event.

 


ANCIENT JAPANESE SCRIPT AND CALLIGRAPHY

Kodai moji 古代文字 literally translates to “ancient characters”. Under the apprenticeship of renowned ancient character calligrapher Koho Kato since 2000, Japanese script and calligrapher Ten-You puts an artistic spin on traditional characters, transforming them into art that expounds the beauty and meaning of nature and life. She held her first overseas exhibition in New Zealand and became independent in 2007 while founding the Kodai Moji Artist Group, Ten-You Gumi. Since then, she has expanded her work and events internationally at New York, San Francisco, Paris and Barcelona, which also include awareness efforts for the 2011 Tohoku earthquake.
The contemporary Japanese language uses 3 scripts: Kanji, Hiragana and Katakana. Hiragana and Katakana, collectively known as Kana, are syllabic scripts derived from through man’yogana 万葉仮名, or phonetic sounds of kanji 漢字. The latter is commonly used as transliterations for gairaigo 外来語, or loans words from other languages in a modern Japanese context. Kanji is a logographic script and the oldest of the three, originating from ancient Chinese characters. Kanji was first introduced to Japan in the 1st century. Prior to that, there was no written form of the Japanese language. Literacy only began to gain traction in the 5th century, where texts were comprised solely of Chinese characters.

Ancient Chinese characters or hanzi 漢字 are known to have been first recorded around 1000 to 1500 BC, inscribed on tortoise plastrons and ox scapulae for divination uses through heating and interpreting the crack patterns. These oracle bones documented the communications between the heavens and the king of the Shang dynasty in China. The characters are a mix of hieroglyphic elements of nature and the cycle of life as well as abstract symbols. The approximated 85000 and 50000 characters recognized in Chinese and Japanese dictionaries respectively are derived from the incompletely identified set of 4000 hanzi. This information comes from the website: http://rgnn.org/2015/12/27/ancient-japanese-script-and-calligraphy-with-kodai-moji-artist-ten-you/

 

 

A WAY TO REMEMBER: MEMORIAL DAY


 

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Located in Frankfort, Kentucky, overlooking the state capital, Kentucky Vietnam Veterans Memorial contains the name of 1,103 Kentuckians killed in the Vietnam War. The memorial is in the form of a sundial with the names placed so that the tip of the gnomon’s shadow touches each man’s name on the date of his death, thus giving each fallen warrior his own personal memorial day.

A Way To Remember

The Kentucky Vietnam Veterans Memorial Foundation, non-profit organization, was created by the Kentucky General Assembly on March 23, 1984 “to design and raise the necessary funds for a monument to those Kentuckians who fought and died in Vietnam.
Funds for construction were provided through private donations from business, corporate and individual sources. The site overlooking the state capitol was donated by the Commonwealth of Kentucky in 1987. Upon completion, ownership of the memorial will be transferred to the state, with perpetual maintenance by the Memorial Fund.
The design for the memorial was selected by an anonymous competition which required that each entrant submit a scale model of the design. The criteria for design stated “The monument should be distinctive yet dignified. It should not seek to imitate other monuments yet it should evoke an emotional remembrance while being aesthetically authentic as a work of art. The monument should display the names of all Kentuckians who died in the Vietnam Conflict…or who are still unaccounted for.”
The design unanimously selected was that of Helm Roberts, a Kentucky architect and Naval aviator during the period between Korea and Vietnam. The groundbreaking ceremony and gnomon dedication, by Governor Martha Layne Collins, was held November 7, 1987. The remaining work for the memorial was done during the summer of 1988. The memorial was dedicated on November 12, 1988 by Governor Wallace Wilkinson.

Design Concept

Tip of Shadow on Name

 

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The memorial was conceived to be a place of quiet meditation to contemplate the nature of the Vietnam War and also to be a place of ceremony to honor those lost in this conflict. The hours of the sundial represent the years of the war, thus each sector between the walkways includes one year of Kentucky losses. The length of the shadow of the gnomon varies with the date of the year, with the longest shadows at the Winter Solstice on December 21 and the shortest on June 21, the Summer Solstice. Each name on the plaza is placed on the sunline for the date of death between these extremes, The exact time of this anniversary is unique for each name, but does not vary from year to year.
The arrangement of names was intended to show the pattern of Kentucky casualties for the Vietnam War. The first two deaths occurred in 1962 and the last person was killed in 1975. The year of heaviest losses was 1968, which falls between Noon and 1:00 PM, Eastern Standard Time. The names of those missing in action or prisoners of war are located in front of the gnomon, where the shadow never falls.
Veterans Day ceremonies are commemorated by an inscription located on the Plaza where the shadow falls on November 11 at 11:11 AM, the date and time which marked the Armistice in 1918 which ended the first World War.
The Meditation Area looking down on the plaza provides a distant view of the state capitol, framed by the gnomon and the flags of America and Kentucky.
The circle of stones around the base of the gnomon are inscribed with the verse from Ecclesiastes 3:1-8:
For everything there is a season;
and a time for every matter under heaven:
A time to be born, and a time to die;
A time to plant, and a time pluck up what is planted;
A time to kill, and a time to heal,
A time to break down, and a time to build up;
A time to weep, and a time to laugh;
A time to mourn, and a time to dance;
A time to cast away stones, and a time to gather stones together;
A time to embrace, and a time to refrain from embracing;
A time to seek, and a time to lose;
A time to keep, and a time to cast away;
A time to rend, and a time to sew;
A time to keep silence, and a time to speak;
A time to love, and a time to hate;
A time for war, and a time for peace.

Memorial Data

Plaza Plan and Name Pattern

 

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The curved lines on the plaza mark the location of the Summer and Winter Solstice and show the path of the shortest and longest shadows of the year. The straight East/West line locates the path of the Spring and Fall Equinox. The times inscribed on the stone outer circle represent natural or “Sun” time. The walkways are located at the mean position of Eastern Standard Time. The inner circle is marked with words from Ecclesiastes which reflect upon the nature of time and the seasons.
The gnomon, or pointer stands 14.62′ above the surface of the plaza and is 24.27′ long, measured along its spine. The angle of the gnomon is equal to the latitude, or 38o 10’25” from horizontal and points to the true North Pole and Polaris, the North Star. The gnomon was cut from 3/16″ thick stainless steel and fabricated in Springfield, Oregon by metal sculptor and welding engineer Arthur Ross Cady.
The Plaza is 89′-4″ long by 71′-1½” wide, including the benches. The plaza floor contains 327 pieces of 4″+ thick granite with pieces ranging from 2421 to 66 pounds in weight. The average weight of each plaza slab is 1,144 pounds. The largest pieces are 12′ long. The benchwork has 120 pieces weighing over 20 tons. The weight of all granite in the memorial is 215 tons.
All granite for the memorial was cut from the “Pyramid Blue” quarry located in Elberton, Georgia.[4] The face of each piece was honed to remove saw marks and finished with a sand-blasted surface to provide the lightest possible color to contrast with the gnomon shadow. All granite fabrication was done in Elberton from computer generated drawings, which included full sized templates for exact location and spelling of each name.
Lettering and linework was incised into the granite using rubber stencils and sandblasting. All engraving was done in the factory with the exception of the summer and winter solstice and bench lines, which were done in place. The lettering of all names, months and the Ecclesiastes verse is the same lettering used for official government stone grave markers throughout the nation, including Arlington National Cemetery.
The Flagpoles are 35′ high and are located 10′ to each side of the True North line. The area north of the Winter Solstice line is designed for ceremonies on national holidays, Memorial Day, Independence Day and Veterans Day.

 

 

To see more of the photograph at the top of this page of The Kentucky Vietnam Veteran’s Memorial by Janis Kirstein, click here

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Lee Brewster: To Capture a Moment in Time


 

 

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If an artist can capture a moment in a lightening strike of eloquently drawn lines and painted strokes of pigment, then why do so many artists feel it is necessary to overlabor over creating ? Is a rendition of the moment with dutiful work ethic, and a heavy sense of responsibility always more valuable than a direct moment of complete insight?

By viewing paintings by  Lee Brewster, one can see that it is entirely possible for  an artist to perfectly align with the universe in a delightful harmony, and capture this moment of spontaneous truth. When this happens, you have a major miracle.

This is the work of painter Lee Brewster, who’s baby steps capture the larger heart and soul of reality in a most certain, profound and complete way.

Jan Kirstein

 

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“today in the studio I had one of those sacred moments. it brought me back to why I love art-making & came when I added a thin layer of white to parts of this little paper piece. I can’t say that it’s done, but it is much improved by what was added today. this piece has been sitting in my studio…waiting. i never gave up on it when it was ugly & awkward, because I saw something worth saving in it compositionally. i love the messiness (or mistakes, if you choose to call them that) from the past & that you can still see shadows of them. mostly I love what I learned about life: that for all those times when I didn’t look like much, someone saw something in me worth keeping around & investing in. someone had a vision for what I would become. so…this little piece of paper with black & white marks on it was my teacher today. she’s is imperfectly beautiful & wise & worthy and I’m calling her “grace”

Lee Brewster

Artist

Franklin, TN.

 

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Canal Cheong-Jagerroos: Field of Dreams


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Canal Cheong-Jagerroos’ paintings combine the best of Eastern and Western cultural perspectives to present paintings rich in surface, sensitivity and sensibility. Some of her paintings are created on rolls of rice paper and some hang from the wall in a scroll motif, extending down to and across the floor in a continuing flow of tactile viscerility.   References to Eastern calligraphy combine symbology, characters and scroll format with Western influences of the freedoms inherent in abstract expressionism to envelop the viewer in an ocean of texture, shape, movement and tactile presence.

Jan Kirstein


Canal Cheong-Jagerroos (b.1968) is a Chinese contemporary visual artist who grew up in an artistic family in Macau. She currently lives and works between Helsinki, Nice and Berlin.

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Canal Cheong-Jagerroos has since lived and worked for 25 years in numerous countries from Asia to Europe and Africa before settling with her family in Finland. The unique experience of having lived in such culturally diverse cities and countries, namely; Hong Kong, Shanghai, France, Switzerland, Italy, Africa and Finland has influenced her work greatly. Therefore, whether as consciously or subconsciously, these exceptional cultural experiences have shaped Canal’s later works. Canal has discovered that walking the line between the east and west, facing different cultures, can be both constructive and destructive, but always inspirational.


In 1992, Canal began working in Chinese freehand style brush-strokes inspired by Chinese ancient abstract great master Bada Shenren’s (1626—1705) and influenced by her mentor Laozi (530 BC), a contemporary of Confucius during the 5th century BCE. This has motivated her shift of focus to ancient Chinese symbols and combining them with modern daily elements to extract the utopianism world. In the process of this exploration——through tearing, destroying, separating or even inadvertently trampling on the rice paper on which the artist has already painted, she was then overlapping layers and layers of the paintings with Xuan paper on the canvas. The whole creation process is fully involved with construction, deconstruction, and reconstruct. By using multiple layers of rice paper, acrylic, ink, traditional Chinese pigments and ready made objects which are incorporated together, the artist makes it possible to derive a sense of depth on canvas.; again, by blending ancient Chinese motifs and modern elements, she integrates the past with the present through symbolic creations that depict the peace and harmony of a Utopian world.


Canal Cheong-Jagerroos has won international recognition and acclaim for her unique works of fusing ancient Chinese motifs and contemporary elements. She has enjoyed considerable success over the last 20 years with over 50 worldwide solo and selected exhibitions to her credit. Her artworks have been represented in numerous prestige galleries in Switzerland, France, Italy, Sweden, Finland, Macau, Hong Kong, Africa and she was included in the 55th Venice Biennale in 2013. The majority of Canal’s works are in public and private collections worldwide.

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Canal Cheong-Jagerroos is the co-founder of the ongoing ‘Blue and Red Art project,’ which will be holding exhibitions in numerous museums in China and Finland from 2018 – 2020.

Upcoming Exhibitions:
2017 LA Art Show, Los Angeles, USA
2017 Art Palm Beach, Florida, USA
2017 Art Boca Raton, Florida, USA
2017 Artist In Residency, Beijing, China
2017 ‘Waking / 苏醒’ Solo Exhibition, Being 3 Gallery, Beijing, China
2017 Art Southampton, NY, USA
2017 Finlayson Art Centre, B&RAP, Finland
2017 Basel Art Center, B&RAP, Basel, Switzerland
2018 Xian Art Museum, Xian, B&RAP, China

www.canaljagerroos.com