TEO andreani
Painter - Abstract painting. Landscapes (inner and outer)...... Philosophy, emotions and music... Medium-large canvases and miniatures ----Layers of acrylics mixed with sands and metals under oil and/or beewax----Hand-made papers
09 December 2021
30 September 2021
24 November 2020
23 January 2019
The Mystery of my finishing strokes
The mystery of my finishing stroke.
Upon my paintings in uppermost level you see a vertical brushstroke, a final touch as a calligraphy within an imaginary layer. These lines are thin and their length varies, seldom going from the upper to the lower edge, always out of a central position.
This sign is fruit of an independent colour research-choice and can be in dissonance with the general tonality of the work.
Many viewers ask: “ What is this line? What does it represent? Why it is there? This line could be seen as a personal seal, a method to proclaim my unicity. It stresses the
asymmetry of the composition that I have cared as long I remember painting.
For some inexplicable need at all times I cannot avoid dreaming my future work. Later in the actual making one transforms the empty surface by trials and errors and could go on inexhaustible. In a third mysterious minute the work cries out: “Basta! Stop it, do not touch it more!”.
In that point I experience both that the work is “myself” and that it has acquired an independent life. So then I put my signature and give it a name, its title, a child that deserves a name. And on this moment of acknowledgement of parenthood I draw my special stroke, that also means that I will respect the work’s integrity.
Upon my paintings in uppermost level you see a vertical brushstroke, a final touch as a calligraphy within an imaginary layer. These lines are thin and their length varies, seldom going from the upper to the lower edge, always out of a central position.
This sign is fruit of an independent colour research-choice and can be in dissonance with the general tonality of the work.
Many viewers ask: “ What is this line? What does it represent? Why it is there? This line could be seen as a personal seal, a method to proclaim my unicity. It stresses the
asymmetry of the composition that I have cared as long I remember painting.
For some inexplicable need at all times I cannot avoid dreaming my future work. Later in the actual making one transforms the empty surface by trials and errors and could go on inexhaustible. In a third mysterious minute the work cries out: “Basta! Stop it, do not touch it more!”.
In that point I experience both that the work is “myself” and that it has acquired an independent life. So then I put my signature and give it a name, its title, a child that deserves a name. And on this moment of acknowledgement of parenthood I draw my special stroke, that also means that I will respect the work’s integrity.
Night in death valley canvas 100 x 72 mixLumière au passé VII 2018 Canvas mixed 40 x 50 cm |
17 August 2018
03 July 2017
MONOCHROMES
Monochromes
Are multicolor paintings more artistic than monochromes?
Sculptors have abandoned colors since ancient times.The
creativity in forms of architectural and design beauty do not need colors.
One feels a uniformly monochrome object too simple. Are
single color surfaces with rough textures to be considered more expressive?
Since the end of figurative paintings, famous examples of monochrome paintings
were produced as Malevitch’s “White on white”, Richard Serra’s giant black
encaustics, Y. Kleins blues, the “Achromes” of P. Manzoni, the cuttings of Fontana and many
others.
Is monochrome painting a kind of rebellion against classic
style where painters searched a balance between “hot” and “cold” colors? Or a
way to stress non-figurative nature of one’s painting?
Putting complementary or strongly contrasting pigments in
one work can be perceived as drama expression, but we often associate strong
emotions with one tint.
I call monochromes my works with a dominance of one color
and its near variations. I call these experiments “monochromes”, even when in
them one sees well some “secondary” nuances within the same pigment family or
small touches and strokes in contrasting pigments.
In my
production there are monochrome groups of “whites” (W), “grays” (G),
“reds” (R), “blacks” (B), “yellows” (Y), “skin-colors” (Sk) and “texture” (T).
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