Exhibeo ● Art ● Competition ● Magazine is proud to announce the winners of the Art of Abstraction Competition.
1st PLACE WINNER
Eric Goldstein, Forest Path, mixed medium
2nd PLACE WINNER
Steve Zolin, Esglesia Cinetica, mixed media
3rd PLACE WINNER
Ryota Matsumoto, Those Who Affirm the Spontaneity of Every Event,
mixed media, 33 x 47 in.
Ordi Calder, Metropolis, canvas Canson, 26 x 40 in.
Kate Henderson, Jazz Street, pastel, 18 x 19 in.
Paula Pohli, Blackshed, Linocut and ink wash, 10 x 13 in.
David Janssen, Jr., Flaunt, mixed media, 40 x 60 in.
The images of paintings that I am submitting are from my new series of work that addresses the interface between the digital and analog processes and the symbiotic relationship that I feel can exist between them. By becoming attentive to common images as found in popular women’s magazines and print media, I have appropriated certain images because of their specific color choices or symbolic/suggestive nature. It has always fascinated me how the female form as an object has been used to sell and advertise consumer goods and how women throughout art history have been portrayed. So when I create my work, I think of ways I can obscure the female form to take it out of its commercial or historical context and present it in a way that wasn’t intended by the magazine advertisements. I wanted to portray the form in a different way, one that is more fragmented and aggressive. Several artist such as Richard Prince, Christopher Wool, and Gerhard Richter have motivated me to continue to challenge perceptions about images, mark making, the use of text, patterns, and themes within visual art. I enjoy the forceful effort it takes to make a work that can push forward ideas about the use of traditional and new media in the contemporary world today and pay tribute to traditional subjects throughout art history.
The media I use carries different connotations, whether it is spray paint that is so closely related to crime and the graffiti culture or collage that is associated with scrapbook making and crafts in more current times. As I have consciously separated myself from what has been done in those mediums, I have accomplished within these works what can still be done in semi-abstraction and abstract painting by using techniques and media that have been considered “low” art. Working with all of the different materials to express the overall theme of the works I am submitting has been an enjoyable and thought provoking experience; one that I believe will resonate with the viewer.
Jan Brown, Heart Tears, acrylic, 36 x 48 in.
Every once in awhile a painting has to come from emotions you're feeling. "Heart Tears" was a result of a lost relationship, one that left me hurting. I knew I wanted to express that in the painting.
Caroline Werner, The Word of the Lord, mixed media, 24 x 36 in.
This image is an abstraction about perseverance. In times of hardship, the human being is reduced to a skeleton/bobblehead. The Bible verses represent the question of whether to reach out to a higher power.
Norman Silva, Cityscape, wood and aluminium, 48 x 82 x 16 in.
Cityscape is a depiction of a futuristic city. One which building's are constructed of environmentally friendly and/or recycled materials.
Rose-Marie Kossowan, Aftermath
This is a re-make of an earlier version of a painting by the same name. The image is meant to be a metaphor representing the psychological state of mind after a traumatic personal event and the potential for healing. As neural pathways reform, a new normal emerges and life goes on.
Marti White, Cast Your Nets, mixed media, 18 x 21.5 in.
Texture always adds the possibility of mystery to a painting. The texture in this painting involved layering papers to make valleys for paint to seep into and then the application of other materials to add further texture. I didn't have the idea for a subject until the pieces was nearly finished and then it began to tell me it was about fishing with nets. My father was a zoologist with a specialty in fish and we spent many vacations collecting minnows in creeks and rivers. Perhaps this was my story in this piece. It also could relate to the biblical story of the disciples who were unable to catch any fish and the man on the shore told them to cast their nets on the other side and they were successful.
Elaine Rexdale, Medicine Man, acrylic, 24 x 38 in.
I live in an area rich in Native American culture so this painting exudes the energy and importance of the Medicine Man in his culture.
Sue Mac Dougall, After Light, mixed mediums, 32 x 20 in.
This work has many layers of different colors which take the eye into it. The mood was one of deep sadness when my son died but I understand that there is light after great sadness.
Karen Cruickshank, Textured Abstraction IX, oil on canvas, 24 x 48 in.
Textured Abstraction IX intrigues anyone who observes it up close. The textures are palatable and the number of infused colors appears almost infinite, tiny strokes embedded in the thickly-textured dominant colors. It's working title was Heaven's Waterfall, as it was inspired by rushing water pouring over rocks amidst an Oregon river. From its beginning to its final stroke, I consider my time creating this work to have been magical.
Evalynn J. Alu, Solar Impact, acrylic on canvas, 32 x 49 in.
Solar energy should be used more than it is today. In "Solar Impact" experimentation with color and form to bring to light the importance of such of force is presented. Making people aware that such a force should be a major source of generating energy is set forth in this painting.
Carel Schmidlkofer, Inside Myself, digitally manipulated photograph on canvas, 60 x 40 in.
This image may be interpreted by the viewer to mean anything about themselves. It could be a happy or sad experience, a challenge over personal beliefs or an outlook on life.
Charlann Meluso, Emergence of Endearment, photography, 14 x 20 in.
“Emergence of Endearment” was abstracted from the wall of an industrial boiler room in New Jersey, USA that was heavily corroded from years of wear and tear. The intricate patterns of natural decay swept me off my feet. This particular image struck a chord with the romantic in me...as it appeared to be a “heart” emerging from the chipped and worn concrete surface of the wall. The fragmented areas of teal and cantaloupe satisfy my craving for complementary colors, which are apparent in many of my images. My heart is satisfied.
Tatianna O'Donnell, Throught The Glass, oil on canvas, 24 x 36 in.
All the paintings in this series are about transitions. In Amsterdam, where the lights at dusk from the shop windows were reflecting upon themselves, I recorded this image.
The world around me is my inspiration in its various forms, textures, shapes and colours. The inner response to these, the intuitiveness is an important element and is of interest to me as an artist and as a human being. Moving through space, I am interested in recording Motion as Stillness.