Tag Archives: figurative

Various Works by James Bentley

by James Bentley

 

James Bentley is a Canadian artist who lives and works on the small island L’Île-Perrot, just off Montreal, Québec. He studied and began his career as a freelance illustrator; a practice which gave him a great love for drawing. Anchored in figuration, he now works mainly with acrylic on canvas and acrylic & pastel on paper. Bentley’s current body of work is focused on the ocean, portraits and figure studies. He is always on the search to paint in an inventive open manner.

Website: http://www.jamesbentley.com/index.html

Facebook: https://www.facebook.com/james.bentley.79677

 

 

 

 

Imperfect Beauty

by Thomas Donaldson

thomas-donaldson-1-head-and-torso-study

thomas-donaldson-2-figure-study-on-green-oil-on-canvas-100x80cm

thomas-donaldson-3-portrait-study

thomas-donaldson-4-standing-figure-oil-on-canvas-100x80cm

thomas-donaldson-5-figure-study-mixed-media-on-paper-56x38cm

thomas-donaldson-6-head-study-oil-on-canvas-120x120cm

thomas-donaldson-7-standing-figure-oil-on-canvas-100x80cm

thomas-donaldson-8-heads-with-grey-oil-on-paper-38x38cm

thomas-donaldson-9-head-study-ink-watercolour-and-acrylic-on-paper-27x18cm

thomas-donaldson-10-head-in-pink-oil-on-paper-38x38cm

thomas-donaldson-11-head-study-oil-on-canvas-120x120cm

thomas-donaldson-12-standing-figure-sara-mixed-media-on-paper-56x38cm

thomas-donaldson-studio-shot-dec-2016

 

thomas-donaldson-bio-picArtist: Thomas Donaldson

Thomas is an English figurative painter and Lecturer based in Asia. He received his Master’s degree from Newcastle University in 2000 and since then has taken part in numerous exhibitions globally. His visceral works depict the portrait/nude which has been a traditional subject within the history of painting, which is easily recognizable and has been painted over and over again. This familiarity with the subject and the ideal of beauty in an increasingly over photo-shopped media allows Thomas to develop the process of painting through abstraction, mark making and impasto and at the end of the process still have something that remains familiar although imperfect and slightly awkward.

Website: http://www.thomasdonaldson.biz

Facebook   https://www.facebook.com/thomas.donaldson.art

Instagram   https://www.instagram.com/thomasdonaldsonart/

Twitter       https://twitter.com/thomasdonaldson

Pinterest     https://www.pinterest.com/thomasdonaldson/

Tumblr       http://thomasdonaldsonart.tumblr.com/

 

 

 

 

Dialogue with myself

by Melinda Matyas

The red curvature (dyptich)

The red curvature (dyptich)

Seven days (dyptich)

Seven days (dyptich)

Hope, the thing with feathers

Hope, the thing with feathers

I’am going to be a pilot

I’am going to be a pilot

The Silence of Animals

The silence of animals

6 Melinda Matyas Mama, I’m coming home

Mama, I’m coming home

The wind blows where it pleases

The wind blows where it pleases

 Lorelei

Lorelei

Stopping by woods on a snowy evening

Stopping by woods on a snowy evening

And the walls were restless under chalk drawings

And the walls were restless under chalk drawings

I’ve been here before (dialogue with myself)

I’ve been here before (dialogue with myself)

 

Melinda MatyasArtist: Melinda Matyas

My artistic preoccupation is mostly based on existential explorations of the human condition. Very much interested in the intensity of sensation experienced from the subject’s presence, I’m looking beyond the body, discovering that beyond our well-lived triviality in each individual the spirit is made flesh, under its surface in each one the whole creation breathes. Though the starting point is always personal, emerging out of my obsessions and the emotional intensity which flows through myself and through people living around me, this intensely personal content of the work invites a reciprocal identification on the part of the viewer.

http://melindamatyas.com

https://www.facebook.com/MelindaMatyasPaintings/

https://www.instagram.com/melinda_matyas/

 

Fragility of Self

by Amy Oliver

Sleeping - wire and aluminium mesh

Sleeping – wire and aluminium mesh

As I turned... Print on canvas (close up of Beneath my Mask)

As I turned… Print on canvas (close up of Beneath my Mask)

Disjointed Fore - aluminium wire mesh

Disjointed Fore – aluminium wire mesh

Silence me - print on canvas (mannequin and masking tape)

Silence me – print on canvas (mannequin and masking tape)

Complete - wire and aluminium mesh

Complete – wire and aluminium mesh

Disjointed 3 - heavyweight paper, masking tape, ink and fire!

Disjointed 3 – heavyweight paper, masking tape, ink and fire!

Disjointed Too - aluminium mesh

Disjointed Too – aluminium mesh

Beneath my Mask - aluminium mesh

Beneath my Mask – aluminium mesh

 

Amy Oliver-Profile pic (June 2016)Artist: Amy Oliver

I have a particular interest in issues surrounding mental health, social and political conditions, and women’s rights and identity, and tend to theme my work around this subject matter. My intention is to create pieces that express vulnerability and instability but which also suggest the (often subconscious) core strength within, in an attempt to capture the fragility of self. In terms of the materials I use, I have an affinity with metals – more specifically aluminium due to its lightness, movement and energy. I enjoy responding to materials in unconventional ways and pushing their (and my) boundaries; and unearthing discarded, lost and forgotten items and using them to construct something else entirely, bringing a new dimension to their existence.

My work and style is ever evolving and I am on a constant learning curve. I didn’t start my creative journey until 2013 when I undertook a 10-week Figure & Portrait sculpture evening class at The Art Academy, London and this led me, at age 44, onto a part-time one year Certificate in Sculpture with the same school in 2014/15.

I am drawn to and inspired by the subjective work and language of artists such as Schiele, Dumas and Emin, together with a myriad of unknown/lesser known artists and have been lucky enough to connect with many via social media.

www.fragilityofself.co.uk

http://www.celesteprize.com/member/idu:88274/

https://www.instagram.com/fragilityofself/?hl=en

https://www.facebook.com/amy.oliver.3950

 

Current & Upcoming Exhibitions | Shows:

11 – 14 August 2016

Blair Zaye Presents ‘Exposed’Ben Oakley Gallery, Greenwich, London (showing ‘Complete‘)

15 – 29 October 2016

East Kent Open House weekends

 
Previous Exhibitions | Shows:

9 – 13 July 2015

The Art Academy Graduation Show, London

30 April – 19 June 2016

Artiki Eventi | Breakfast in Beirut, Treviso, Italy (showing ‘Beneath my Mask‘)

 

Art is just feelings…

by Juan Barquero

angle

angle

corporeality

corporeality

dance

dance

feelings

feelings

Juan Barquero-meet

meet

orgasmic

orgasmic

passionate

passionate

perspective

perspective

pleasure

pleasure

visceral

visceral

 

Artist: Juan Barquero

French. Born in Chile. I live and work in France currently.
 
“Everything is spontaneous, without sketch or scenario. Just feelings.”

Celebrating the gentle contours of the female body with fine, sensual, fluid lines that reference an unrestrained dance, Juan’s drawings provide a seductive entry point to an intense oeuvre, introducing enduring themes of sensuality, corporeality and temporality.
 

http://www.juanbarquero.work

https://www.instagram.com/two_edged/

https://twitter.com/two_edged

 

The Figure as Metaphor

by Tom Bennett

Barely Resolved Inoffensive Nude, oil on canvas, 2016

Barely Resolved Inoffensive Nude, oil on canvas, 2016

Fatigue 4, oil on paper, 2016, 16" x 22"

Fatigue 4, oil on paper, 2016, 16″ x 22″

Fatigue, oil on paper, 2016, 12" x 9"

Fatigue, oil on paper, 2016, 12″ x 9″

Fatigue 2, oil on paper, 2016, 20" x 16"

Fatigue 2, oil on paper, 2016, 20″ x 16″

Fatigue 3, oil on paper, 2016, 16" X 20'

Fatigue 3, oil on paper, 2016, 16″ X 20′

In the Hold, oil on paper, 2012, 18" x 9"

In the Hold, oil on paper, 2012, 18″ x 9″

Muddy Company, oil on paper, 2012, 16" x 20"

Muddy Company, oil on paper, 2012, 16″ x 20″

Quiet, oil on paper, oil on paper, 2015, 19.5" x 27"

Quiet, oil on paper, oil on paper, 2015, 19.5″ x 27″

Mannered Nude, oil on paper, 2015, 9" x 24"

Mannered Nude, oil on paper, 2015, 9″ x 24″

Memory Loss, oil on paper, 18" x 14"

Memory Loss, oil on paper, 18″ x 14″

Sleepwalk Redux 2, monotype, 12" x 12"

Sleepwalk Redux 2, monotype, 12″ x 12″

Sleepwalk Redux 17, monotype, 12" x 12"

Sleepwalk Redux 17, monotype, 12″ x 12″

Sleepwalk Redux 24, monotype, 12" x 12"

Sleepwalk Redux 24, monotype, 12″ x 12″

Witch 18, monotype, 2016, 12" x 12''

Witch 18, monotype, 2016, 12″ x 12”

Witch 21, monotype, 2016, 12" X 12"

Witch 21, monotype, 2016, 12″ X 12″

These Things don't Mean Anything, 2012, 18" x 9"

These Things don’t Mean Anything, 2012, 18″ x 9″

 

Tom Bennett-me at silvermineArtist: Tom Bennett

Tom Bennett, born in Ridgefield, Connecticut, grew up in a household of artists and was influenced by his father, Harry Bennett, an award-winning painter and illustrator. His father’s version of Dante’s Divine Comedy was seminal in shaping Bennett’s early aesthetic.  He grew up spending much of his time experimenting with a wide range of art mediums, but particularly, drawing.

He received a Bachelor of Fine Arts in Painting at the University of Connecticut in 1982 where he worked under the noted  painter and photographer, Bill Parker. He also studied design and color under the award-winning Paul Zelanski.

Tom had his first one-man show at the Ridgefield Guild of Artist Gallery in 1983, and a few months later moved to New York City to further pursue his painting.

In 1985 Tom spent seven months traveling alone through Western and Eastern Europe— into Hungary, East Germany and Yugoslavia—and Africa, sketching while traveling and absorbing new stimuli. His visits to sites like Dauchau and occupied East Germany left him with renewed connection to an inchoate subconscious iconography.

Subsequently, travelling into northern African countries like Morocco & Algeria provided fresh, non-western- centric experiences that ultimately had a subtle, yet profound impact on his art making.

He returned to Spain and resided in Barcelona. Tom lived on the Spanish Mediterranean coast painting, where he exhibited locally in solo and group shows. Eventually he returned to New York and moved to Brooklyn, where he has resided ever since.

 

http://www.saatchiart.com/tombennett
https://www.facebook.com/tombennettart/
https://www.facebook.com/tom.bennett.165470/media_set?set=a.124389307155.101484.660327155&type=3
https://www.flickr.com/photos/tom-bennett/
https://twitter.com/TommyBennett
http://tombennett.tumblr.com/

 

 

 

 

Rotating Selves

by Eleanor Adair and Gabriel Vilanova

The Rotating Selves project comments on the traditional artist/model relationship in art and how this materialises online, with neither the artist or model meeting in real life

It began through a series of messages on Twitter between Scottish artist Eleanor Adair and Spanish artist Gabriel Vilanova. Both had been following each others’ art and had felt a connection due to their focus on figurative drawing. When Gabriel suggested they try to find a way to work together, Eleanor proposed the idea of rotating a series of portraits between themselves online.

Both artists began by creating a self portrait taken from a photograph that was kept hidden from the other. This self portrait was then forwarded to the other artist who created a new portrait from the image. Once completed, this got sent back to the original artist who created a further portrait from that. This rotation continued until a series of 10 portraits in all were completed, five of each artist. As neither artist was able to see the original photograph, the portraits developed solely from the other artist’s interpretation.

Eleanor 4 strip_a

 

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gabriel strip_b

 

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Thoughts on the virtual collaboration process:

Eleanor: For me the potential to work virtually with an artist whose work I felt a real connection to was incredibly exciting. The idea that we could both create portraits of one another, despite having never met, was one I really wanted to explore. So, the project began with us agreeing on some concepts, that we would both begin with a photograph of ourselves and from this draw a self-portrait. We’d then send this drawing to the other artist who would create a portrait from it, before it was sent back and so on, until we had a set of ten portraits, five of each artist. Neither artist was able to see the original photograph, so that the portraits developed solely from the other artist’s lines.

I was intrigued by the concept of developing my own lines from Gabriel’s, of giving over my face and watching someone else move it around and seeing myself and my art emerge through another artist. How would our styles differ and would we pull or push each other in our own directions? And there was always the prospect that we would push each other into places we wouldn’t normally explore. Initially I had wondered whether keeping the project to drawing would reflect limitations, that it would somehow feel contained within a medium and be a lesser form of what it could be if we painted. Actually what’s happened is that its shown me the vast scale and potential for drawing, that you can convey a huge amount in line without paint. What was amazing was seeing Gabriel create not just different factions of me, but my whole family within my face. I’d recognise my mother and father, myself as a child or how I looked when I was feeling differently. But it was also inspirational in the way his lines generated new ideas for me in how I responded in subsequent drawings.

Gabriel: I’ve always admired portraiture as a genre. Especially when it’s not commercial, when the only client is the artist himself. It’s then the art becomes truly and freely driven. I’ve always appreciated Velazquez in this respect, especially his series of dwarf paintings which are beautifully free and visceral, where the sole purpose seems to be to capture the souls of those portrayed.

How the project emerged with Eleanor was that we discarded superficial notions of portraiture. This was needed to submerge ourselves completely into the introspective process of self-portraiture. This introspection was enhanced by the added vision of the other artist, so that through a process of visual feedback, two artists who don’t know each other in real life and know little about each other’s lives, who don’t share a common language, were able to connect. The result was a discovery of each other through invisible and unconscious elements that emerged as a visual language.

I’ve no choice then but to thank Twitter for the ability to connect with Eleanor and share this soul searching process together.

Eleanor: Online is generally seen as the lesser version of something authentic and I wanted to work around that idea and try to produce something substantial. I think we’ve commented on the traditional artist/model relationship within art and hopefully managed to be inventive through a virtual space. It’s nevertheless a very real space in terms of how we perceive each other and the life we’ve given each other through our lines. A self-portrait for me isn’t about what I look like, but recognising myself in something, and I feel this is a connection that’s definitely been made through Gabriel’s work.

For more about the project, including a look behind the scenes, click here

 

Eleanor Adair is a Scottish figurative artist whose work is concerned with issues of self-consciousness and identity. She has exhibited internationally and has no formal art training. She currently lives and works in Scotland.

Website- http://eleanoradair.com/
Twitter- https://twitter.com/eleanoradairart
Facebook- https://www.facebook.com/eleanoradair.co.uk

Gabriel Vilanova is a multidisciplinary Spanish artist who specialises in both traditional and digital painting and drawing. He trained in the visual arts in Granada and also works with photography, illustration and design.

Website- http://gabriel-vilanova.blogspot.co.uk/
Twitter- https://twitter.com/GaitoVilanova
Facebook- https://www.facebook.com/gaito.arte

 

Portraits in Translation: The Multi-Layered Storytelling of Sal Jones

by Sal Jones

You're Heartless

You’re Heartless

You Should Leave Now

You Should Leave Now

You Tell Me

You Tell Me

Why Did You Do It

Why Did You Do It

Without Me They're Nothing

Without Me They’re Nothing

That's a Good Enough Reason

That’s a Good Enough Reason

Okay

Okay

We Can Get Out Of Here

We Can Get Out Of Here

I'm On To You

I’m On To You

I'm Just An Ordinary Guy With Nothing To Lose

I’m Just An Ordinary Guy With Nothing To Lose

Not Really No

Not Really No

Sal Jones-listen-to-me (1)

Listen To Me

 

Sal Jones-a-studio-photoSal Jones is a figurative artist inspired by human interplay, translating visual information into paintings; she develops ideas and themes from photographic sources with an emphasis on the painted surface. A re-interpretation of the portraiture tradition in which she uses colour and mark making as tools to communicate with, producing emotionally charged works, often of fictional personas.

Sal has a BA Hons in Fine Art and has exhibited regularly in London and across the UK. Including: Society of Women Artists annual open exhibition, Mall galleries, London; Id- A Fictional Journey into the Psyche, Display gallery, London; Discerning Eye Mall galleries London; Stopjectify, gallery Different, London. Works are held in private collections in the UK, Europe and the United States.

Website: http://www.saljonesart.com/

Instagram: https://www.instagram.com/senojlas/

Twitter: https://twitter.com/senojlas  (@senojlas)

Facebook: https://www.facebook.com/saljonesart

 

Upcoming Exhibitions: 

SOLAR ART EXHIBITION 2016
4th June – 30th July 2016

Nude Tin Can Gallery, 125 Hatfield Rd. St Albans, AL1 4JS
Private View Friday 3rd 6.30pm – 10pm

https://www.facebook.com/events/261986567468567/

 

Summer Salon 2016

10th June – 1st July

Islington Arts Factory, 2 Parkhurst Road, London N7 0SF

Private view Friday 10th July 6.30 – 9.30 pm

 

We-R (exhibition to coincide with Pride 2016)

21st June – 3rd July

Espacio gallery 159 Bethnal Green road London E2 7DG

Opening event Wed 22nd June 6-9 pm, closing event 2nd July 6-9 pm

http://werpride16.weebly.com

https://www.facebook.com/events/1754042444832763/

 

Seduction & Desire

5th July – 10th July

Espacio gallery 159 Bethnal Green road London E2 7DG

Private view Thursday 7th July , 6-9 pm

http://www.espaciogallery.com/future-exhibitions.html

 

National society of painters, sculptors, printmakers annual exhib 2016

5th – 16th July, menier gallery 51 Southwark Street, London SE1 1RU 

Private view Tues 5th July

 

The Human Figure – Modern Myth & Storytelling

19th – 24th July

The Gallery, Edwards Lane, Stoke Newington London N16 0JJ

Private view Thursday 21st July 6-9:30 pm

 

Beauty of Line

by Jerry Shawback

Jerry Shawback Image 2

Jerry Shawback Image 3

Jerry Shawback Image 4

Jerry Shawback Image 5

Jerry Shawback Image 6

Jerry Shawback Image 7

Jerry Shawback Image 8

Jerry Shawback Image 9

Jerry Shawback Image 10

Jerry Shawback Imge 11

Jerry Shawback Image 12

Jerry Shawback Image 13

Jerry Shawback Image 14

Jerry Shawback Image 15

 

Jerry ShawbackArtist : Jerry Shawback

Jerry Shawback uses drawing as his primary form of expression. He studied communication design in Los Angeles at the Otis Art Institute of Parsons School of design, a division of the New School for Social Research. Jerry worked as a freelance designer, commercial artist, and animator for the entertainment industry.

After a ten year hiatus from the art world, Jerry returned to painting in 2007,  as a primary focus producing a series of self portraits encompassing various artistic motifs, while maintaining an underlining vision, cohesion and emotional honesty.  The artist’s self portrait series explores identity through multiple approaches to the same subject matter. Stylistically varied, they reveal the strange and vulnerability essence of the human condition. Jerry is now working on a series of paintings and portraits exploring self through images of others.

His affinity for people, observation of life and strong draughtmanship is apparent in his depiction of the human form and informs Jerry’s painting. Other influences include: Rico Lebrun, Egon Schiele, Francis Bacon, Lucien Freud and his mentor Cornelius Cole III.

Jerry has been sharing his works on paper daily on social media, documenting the lives and experiences around him. Exploring the subtle beauty of line through a continuing study of the human form is a common thread that permeates all his work.

Jshawback.tumblr.com

Twitter@jerryshawback

 

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