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-Archives-
Thursday, September 6, 2007
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   Thursday, September 6, 2007

Jaime Gili Biography and his Art work
Jaime Gili was born in Caracas (Venezuela) in 1972. He grew up in a multicultural capital full of vibrant optical art, a concrete city full of optimism. Caracas, in the late seventies, presented its own version of the International modernism movement in art and architecture. Its own take on Utopia, the look of the city being created by artists and architects working together towards a single vision underwritten by a strong oil economy.
In paintings such as Barbaro, Ochoa, and Trikalinou, Jaime Gili incites the austere purity of geometric design with the confidence and authenticity of painterly gesture. Presented in a cluster, his paintings are not hung, but leaned against the wall, creating a temporal architecture inciting of the constant transience and development of urban space. Executed with a palmy palette, Gili’s large scale canvases capitalise on the power of aesthetics to motivate and allure. Bold splinters of pitch black, copper metallic, or tainted pink pierce through grounds animate with drips, smudges, and impassioned swipes, creating monumental fields of raw, potent energy.
Hailing from Venezuela, Gili works from a distinctly South American perspective. Influenced by the sharp geometric angles of 20th c architecture and the sleek elegance of classic automotive detailing, Gili’s paintings disengage the international archetypes of modernism: reflecting instead a localised adaptation of style, where design and its social implications have been internalised and customised to represent a unique national and political identity and cultural heritage. Citing his country’s rapid oil-rich economic growth and intensive South American visionary developments such Caracas and Brasilia, Gili’s paintings address this utopian new world optimism and its inherent failure.Gili’s shard-like compositions are reminiscent of Ljubov Popova and Mikhaiul Larionov, while simultaneously paying
homage to great South American abstactionists such as Cruz Diez, Jesus Rafael Soto and Alejandro Otero.
View Jaime Gili paintings, biography, solo exhibitions, group exhibitions and resource of Jaime Gili artist. View art online at The Saatchi Gallery - London contemporary art gallery. Jaime Gili

Conclusion :
Jaime Gili canvases are nostalgic for this obsolete positivism; where the idealistic development of public space and the appetite for mechanical amelioration both affirmed and inspired a sense of social buoyancy and community. Borrowing from the Constructivists’s ideas of bridging art and technology.

What to Do Next...
If you want any information about Jaime Gili or looking for his paintings please visit us on http://www.saatchi-gallery.co.uk/artists/jaime_gili.htm


Selected Works by Fang Lijun
Fang’s practice exhibits a rarefied technical skill rigorously studied through his Social Realist training; his combination of this aesthetic with references to contemporary comics, folk art, and dynastic painting characterise a national identity in flux, distilling a position of integrity from tradition and the modern world.
Fang’s monumental sized prints revive the ancient Asian practice of woodblock printing -- a complicated and exacting process of carving a ‘negative’ image into a panel, coating the surface in ink, and impressing the image onto paper; each different colour and tone requires a separate plate and order of printing. Due to their immense scale, Fang’s images are composed on several adjoined scrolls; the elongated strips create both an emotive fragmenting of the image, and create a reference to memory and historical testimony. Thematically, each of these prints describe the plight of the individual against the ‘mass’, creating a spiritual contemplation of solitude the quest for personal probity in the face of adversity.
Fang’s painting 30th Mary evokes these same sentiments with a humorous effect. Reminiscent of European church ceiling paintings, Fang portrays an order of ascendancy of same-same kewpie figures, each based on his own image. Executed with painstaking hyper-realism, the clouds formulate as a tempestuous funnel rather than a portal of billowing promise. Contrasted with the kitsch palette and pop rendering of the grotesque cherubs, Fang’s painting approaches the sanctity of ideological assurance with an empathetic cynicism.dam
One of the most famous images of contemporary Chinese art is the Fang Lijun painting owned by the Ludwig Museum, Cologne, Series 2 - Number 2, 1992. The main figure, a friend of the artist, could be yawning or yelling while the mute, menacing figures in the background bring to mind mindless, manipulated masses. The contrast between the strong individuality of the main figure and the dazed conformity of the four background figures is overwhelming
Conclusions:
Fang Lijun is the leading protagonist of Cynical Realism, the major movement of the post-1989 era in contemporary Chinese art. Fang Lijun exhibited his works at the China National Gallery which was the culmination of that decade and signalled to the artists that they had been recognised at Chinese art circles.
What to Do Next...
If you want any information about Fang Lijun or looking for his paintings please visit us on http://www.saatchi-gallery.co.uk/artists/fang_lijun.htm


Eric Freeman Biography and his Art work
Eric Freeman was born on 1964 in Yonkers, New York and currently Lives and works in New York.Pulsating with an electrified glow, Eric Freeman’s paintings resonate disquiet energy, their minimal compositions dizzying in their defiance of space. Comprised of four diffused coloured bands set vertically against a black ground, Industrial Road reverberates with immaculate tension, its forms appearing to undulate in 3D perspective. Drawing comparison to abstract painters such as Ellsworth Kelly and Frank Stella, as well as sculptors such as Dan Flavin and James Turrell, Freeman’s work combines the illusory qualities of paint with the physicality of altered environment; his large scale canvases having the effect of magnetic fields, shifting the perception of centre of gravity.
Paying homage to artists such as Joseph Albers and Marc Rothko, Eric Freeman’s Red Inside Green re-devises the metaphysical qualities of abstract painting for a contemporary age. Using contrasting hues, Red Inside Green offers subtle deception through colour perspective, its geometric forms continuously bulging and receding in illusionary space. Seamlessly painted in oil, Freeman’s canvas possesses an artificial vivacity; its ethereal glow reminiscent of plasma screen technology, creating an electrifying aura that is both spiritual and synthetic.
Eric Freeman marshals fields of electric color and optical effects in the service of an abstracted landscape. Of the five vivid, oil-on-linen paintings included in this show of untitled works dated 2003, four are 8 feet square, and of those, three express the distinct horizon-centered orientation of a landscape with a central darkness disclosed as though from between thin, parted lips. The paintings' upper and lower halves seem symmetrical and appear to swell out horizontally from the support, expanding through sometimes hot, often acidic hues that resolve into thin bars of graduated color that bracket the upper and lower edges.
Conclusion :
Eric Freeman's diffuse paintings are not unlike the artist himself. Stand back and you see bands of hazy color. Get closer and you see their construction and feel the hand and compassion of the artist. But the paintings - and Freeman - never completely come into focus.

What to Do Next...
If you want any information about Eric Freeman or looking for his paintings please visit us on http://www.saatchi-gallery.co.uk/artists/eric_freeman.htm