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I consider Swiss artist Angela Lyn as a very good friend of mine. Our paths crossed sometime a year and a half ago through my blog and she has accompanied me all the way through my incipient recove...

Looking at the progression of Angela Lyn’s practice from an Anselm-Kiefer-ish neo-expressionism to his syncretic (oriental and not that oriental) approach to landscape (and still life?) as if portraying nature and its objects, I see the immanence of what we could call ‘the soul’ not only into the iconography (what is painted) but also in the economy of the brushwork. I used the word ‘portraying’ not as representing something but as the action of ‘portraiture’ in which Lyn’s landscapes become mirrors of the soul and present the viewer with ethical choices. That is why, I think that those ‘mirrors’ are not only reflective but projective and it is in that calm optimism that the viewer and the artist engage in what I called ‘a conversation of a life time’.

The restrained brushwork, the pale colours, the bracketed composition and the self-effacement of the artist reveals a sense of self-control that does not draws attention to itself as an act of humility. Instead it creates space for the viewer to fully participate in the connective experience that art entails. Since lack of connection seems to be the feature of all neuroses, I wonder what the contemporary art world has to say about this. There is a celebration of the unawareness of the psychic conflict that tear humanity apart and this is achieved by turning art into visual jokes or by transforming the visual image into monuments to monumentality which usually (and unsurprisingly) comes across as ironic. This is a big mistake and it is there where Angela Lyn caring restraint emerges triumphant by allowing the viewer experience to become part of the artistic drive. In her cedars, effortlessness is not carelessness but a rhythmic belief that nature and human beings (as part of nature) are synchronised and it is Man’s job to survive without blocking that link with nature.It is in the simplicity of that principle and the effortlessness of the viewing experience that Lyn’s images are graceful as depictions of change. And change is what life and time are all about. Hence, our conversations of a lifetime.

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herman van ingelgem

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taboofart.com/2014/01/12/it-stinks-art-critic-julian-spalding-was-banned-from-damien-hirsts-tate-exhibition-after-calling-him-a-talentless-conman-but-we-smuggled-him-in-and-heres-his-verdict/

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Sentences on Conceptual Art by Sol Lewitt

www.altx.com/vizarts/conceptual.html

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Parte de Camino Negro 2012. on Flickr.

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loveartnotpeople.org/2013/12/29/los-politicos-matan-la-cultura-porque-la-desprecian/

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KEVIN FRANCIS GRAY escultor

kevinfrancisgray.com/exhibition/index.html

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Charly Nijensohn, El naufragio de los hombres

https://www.google.com.ar/search?q=Charly+Nijensohn,+El+naufragio+de+los+hombres&safe=off&client=firefox-a&hs=7mP&rls=org.mozilla:en-US:official&source=lnms&tbm=isch&sa=X&ei=ekKzUsqNLrPNsASI4ID4CQ&ved=0CAkQ_AUoAQ&biw=1152&bih=773

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El pintor español Juan Sánchez Cotán (1560 – 1627) cultivó dos géneros en su producción artística: la pintura de temas religiosos y la de bodegones, de los cuales solo unos pocos han llegado hasta nuestros días... - Artículos y reportajes

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Free weblog publishing tool from Google, for sharing text, photos and video.

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Luigi Prina -Italie- Alors quil navait que 16 ans Luigi Prina a remporté un concours national de modélisation davions. Lorsquil est allé chercher son prix, les organisateurs lui ont demandé...