Here’s Miguel Velit, in triumph before the sculpture he completed at the beginning of August at Josephine Sculpture Park in Frankfort, Kentucky where he was a guest artist.
Miguel Velitis a Sculptor from Lima, Peru. His sculptures include a whimsical but powerful exploration of dynamic space. I have known him since our days together at Vermont Studio in Johnson Vermont and his work has always been a testimonial to the relentless pursuit of art and its ability to influence and alter the world.
This Summer, he was in residence at the nearby Josephine Sculpture Park in Frankfort, Kentucky as a guest artist where he was working on a variety of large metal sculptures from scrap metal gathered from local metal scrap metal yards. He has completed his sculpture and I have included photos of the results.
Miguel has built sculptures all over the world for a variety of parks, interior and exterior spaces. Countries where his work is on exhibit include China, Poland, the United States, Argentina, Mexico and of course, his beloved hometown Lima, Peru.
Embracing a vigorous investigation of building materials and spatial explorations, Miguel builds sculptures that are arrestingly confident, playful and memorable.
Kentucky was honored to host Miguel as he continues his lifelong artistic quest.
Primarily a painter, my creative process combines a mixture of media and collage, including acrylic, pastel, colored pencil & Photoshop, Sumi-E Ink and Japanese Rice paper.
“The Great Horse Race” by Janis Kirstein
I love making these collages. Action painting is my joy for more than 30 years and continues to this day, today, with Sumi-E ink and a haiki brush. I add Japanese rice paper torn scraps, and combine a variety of media including paint, watercolor, graphite, ink, colored pencil, even glitter, all to make a free flowing capture of the creative energy that surrounds me at any given moment. All this has somehow landed on a stretched canvas diptych measuring 32″ in width and 20″ in height. Right now I am creating this series of paintings in my basement. Well actually, RIGHT NOW I am telling you about me doing it! Clarification. I will be continuing this process upon completing this epistle and I will keep you updated on my progress!
To achieve the atmospheric abstraction seen in my work, I especially make use of transparent layering. The scale of my pieces can range from my use of the Nano image to images of outer space. My canvases and paper works range in size from small ,5″ x 6″, to medium 20″ x 32″ to large 4′ x 8.’That means all realities are visible simultaneously, which creates a paradox or sense perceptive omnipotence within you, the perceiver. It’s much like being able to see all dimensions of reality within one gaze.
I invite all of you to join in my creative parade and journey. Get front row seats and join me in this exhilarating endeavor! Thanks for joining me! I love having you come with me by coming to my new website on Patreon.
Here you will have the opportunity to make a small financial donation to help sustain my creative endeavor. You can make a pledge and receive all kinds of various goodies and discounts as a reward for your patronage. I am still compiling my list of rewards and placing them on the website, so check back in a few days to see additional rewards that will be added.
Close up view. Collage by Janis Kirstein
I greatly appreciate and value your contribution to my journey as a creative artist. With your generous support, via my new membership with Patreon. If you wish to follow and participate in my ever expanding creative road of discovery you can make a small donation of support on my Patreon website here. With your help, we can ride this creative journey together! Thanks so much!
Dreams form one of the main pathways to the workings and special messages from the subconscious mind. Dream journals are one of the many ways to uncover the world that goes beyond our concrete reality and merges with a montage of ethereal symbols and realities to convey new meaning in our daily lives.
Here are some very strange and unique artistic captures of this other world we fall through while in our sleep.
Half our dayes wee passe in the shadowe of the earth, and the brother of death exacteth a third part of our lives.
(Thomas Browne, On Dreams)
…night after night, with calm incuriousness we open the door into that ghostly underworld, and hold insane revels with fantastic spectres, weep burning tears for empty griefs, babble with foolish laughter at witless jests, stain our souls with useless crime, or fly with freezing blood from the grasp of an unnamed dread ; and, with the morning, saunter serenely back from these wild adventures into the warm precincts of the cheerful day, unmoved, unstartled, and forgetting.
(Elizabeth Bisland, Dreams and their Mysteries)
Dreams have long proved a fertile ground for human creativity and expression, and no less so than in the visual arts, giving rise to some of its most arresting images. In addition to the many and varied dreams so important to religion and myth there has emerged, in the last few centuries since the birth of Romanticism, an exploration of the more personal dream-world. Indeed, with its link to the unconscious, the form has perhaps proved the perfect vehicle for those artists looking to surface that which lies submerged – desire, guilt, fear, ambition – to bring to light the truth the waking mind keeps hid.
No doubt, also, artists have been attracted to the challenge of giving form to something so visually intangible as a dream, a challenge taken up in many ways through the centuries. More often than not there appears the sleeping body itself, with the dream element incorporated in a variety of ways. Common is for the dream sequence to appear in a totally separate part of the image, as if projected on the walls of the sleeping mind: often in the midst of that familiar floating cloud, but also as emerging from nearby objects or events of the day (see the Toyokuni image below) . Also common, particularly in the depiction of nightmares, is for the figures of the dream to simply appear as though in the room with the sleeper, often directly upon the body itself (see the Fuseli below). With the advent of photography, and the potential of double exposures, we see also a different way of trying to capture that intangibility of the dream image. With both the Grandville and Redon images featured, and the work of the Surrealists they anticipate, we see a different approach entirely, one which looks past the sleeper to focus solely on the imagery of the dream itself, and in the process perhaps giving a more true impression of the strangeness and otherworldliness which so often characterises the dream experience.