Tirina

Welcome to my blog! You can find my works here, as well as some verbal pieces. Art is self-explanatory, but the stories about what was my inspiration and what gave rise to my metaphors of the world, are collected here to help you get a more comprehensive idea of my vision and the artistic language that I chose. You will also find some interesting facts about colour and light here, their meaning and interpretation by the artists and philosophers of the past.

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.. sight must be related not only to taste, but also to all the other senses.. Color is the keyboard. The eye is the hammer. The soul is the piano with its many strings

Kandinsky, Conserving the Spiritual in Art (1911)

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Visited the first open exhibition of Katharina Grosse in Russia. Got impressed by the scale - it is a really huge installation. The previously white space of the gallery appears to have been tagged with graffiti. Paintings come unmoored from the walls. It seems like you are inside a huge picture, and it’s inviting you to become  part of it. You could move through this sculptural canvas of soil and trees. She colored everything  raw colors, and must have been working quickly and intuitively. It’s a magic sleight of hand and colour!

As the final project for Garage Pavilion, it seems to be a celebration of destruction!

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Colors are necessary ingredients of any kind of  artwork and a one-second splash of it may bring to ones mind millions of senses.

And here it is: a result of cooperation of two talented photographers!

Isabelle & Alexis - Blossom

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Just todays sea mood

With lemon yellow sky and deep blue sculptured waves

By so lovely for me Valerie Ng 

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Kim Fisher

In this Kim Fisher's work there is the hardness of the image and the softness of the material it's been painted on.To see the image as object you should crop out the exposed folds of linen that soften the edges, and the image takes on a more rigid, fixed appearance.

Now consider the work as it hangs in the gallery: the painting surface, the color, the hard edge of image, the straight edge of the stretcher, and the  irregular folds of linen. Our gaze moves from the flatness of the wall to the contours of the draped material to the flatness of the painting's surface. Here, the entire painting is the object, but with  heightened contrasts.

There is a play between the smooth surface of color at the service of the image and it geometry, while the color of linen folds may appear stained or to have bled.

The lushness of the paint is juxtaposed with rough areas of unpainted linen.

  1. Study for Gemstone (Padpardsvha, 40), 2004. Oil on Linen on Panel. 21 x 17 inches

2. Last Quarter, 2008. Oil on Linen. 72 x 63 inches  (182.9 x 160 cm)80 x 70 inches  (203.2 x 177.8 cm) Approximately with fringe  

3. Installation view Photograph: Courtesy John Connelly Presents

4. Made in L.A. 2014. 

Installation view at the Hammer Museum, Los Angeles. June 15-September 7, 2014. Photography by Brian Forrest.

5. Untitled, 2011. Acetate, Metal, Oil on Canvas. 49 x 45 inches  (124.5 x 114.3 cm) 

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Mark Rothko, views of The Rothko Chapel, Houston, TX which opened in 1971 after Rothko’s suicide in 1970

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He was the greatest scientist of the colors 

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Untitled

Titles, for abstraction in particular, can open up pathways into artworks, into their sources and meanings, can direct our readings in ways we might not have otherwise considered, and can even offer insights to the mind of the artist.

A title may also lead nowhere useful, or even to misdirection, which may or may not be the artist's intention.

A title can be thought of as either an anchor holding an object, still buoyant, in place, or as so much dead weight.

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Master of the Shapes

Agostino Bonalumi

All the Shapes of Space

Londra 2013

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Tomory Dodge

  I love disaster

And I love what comes after

Tom Verlaine "Ain't That Nothin" 

  This song resonate with the work of Tomory Dodge. In his paintings we are confronted  with explosion, tornados, collapse, and entropy, and even when something is recognizable, or barely recognizable, Dodge blows it to bits with a whirlwind of paint. Consumer objects , like a coffeemaker, a refrigerator, and a golf cart, painted as if his paintbrush is a stick of dynamite. The most vibrant rainbows of colors are mixed  for all the catastrophic paintings.

  1. EUPHORIA HOUSE, 2005, Oil on canvas, 152.5X244 cm, COURTESY OF CRG GALLERY, NEW YORK

  3. Stutter, 2014, Oil on canvas, Diptych: 213.2 x 365.8 cm / 84 x 144 ins (Each panel: 213.2 x 182.9 cm / 84 x 72 ins)

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And what about form of performance? The paintings here are performed, the objects in Armleder’s work are part of the stage set. And I could say that this paintings are made as much by the artist as by gravity.

 John M. Armleder

“When I do a painting, it’s objective. I’m not very interested in it because my impression is that it exists in spite of me. It’s not of my doing, or not to any great extent.”

1.   Convallaria Majalis

2003, Mixed media on canvas (triptych),

 2. Geranium sanguineum

2012, Mixed media on canvas, 130 x 230 cm

 3. Gentiana asclepiadea

2008, Mixed media on canvas, 240 x 180 cm

4. Mitra Papalis

2014, Mixed media on canvas (diptych)

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Traveling

Colors can be related to place, even outside our world, but it can also bring us back down to earth.

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Color is the place where our brain and the universe meet.

Paul Klee

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Butterfly painting  

Color clearly is important to the paintings of Mark Grotjahn, and so are light and space.

His “butterfly” paintings absolutely shimmer in the cool filtered light.

Every thing that I could say about them – that they are radiant, prismatic, and luminous. They are follow your movement  around the room, measure your proximity by degrees.

MARK GROTJAHN

1. Untitled (Black Butterfly Pink MPG Orange), 2002

Oil on linen, L: 72 x 19 inches; R: 72 x 22 inches 

Courtesy Anton Kern Gallery, New York  

2. Untitled (White Butterfly), 2002

oil on linen, 182.9 x 61 cm

4. Untitled (Orange Butterfly Green MG 03), 2003

oil on linen, 132.1 x 71.1 cm

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Sometimes the nature or action could be shown in a way that is not expected. Everyone could find the Sun on the first painting and some mysterious Ride on the second one, but look at it ones again and, maybe, you will find a pretext of the pictures. 

When I look at this type of paintings I realize that it can be seen as embracing a kind of realism based on a personal rather than collective worldview. Abstract artists play with different types of representation as if they ask, Do we really understand what we see? Do we see the same things in the same way? Over the years this line of questioning has been addressed to a lot of abstract paintings of a great number of  artists.

DAN COLEN 

1. Rite of Spring, 2013, Oil and pigment powder on canvas. 105 x 85 inches (266.7 x 215.9 cm)

2. Ride of the Valkyries, 2013, oil on canvas. 89 1/2 x 119 inches (227.3 x 302.3 cm)

3. "DAN COLEN: Miracle Paintings".  Installation view

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Rain glass

My paintings are inspiration from the world around me.

They are abstract in the form, but absolutely real in the colors. Colors deliver you actually more realistic world than what our eyes are able to see.

I made a point of showing you the picture without forms hidden behind the obscure glass to depict something that colors can convey better than a shape can.

Color harmonic of water is in deep blue, vibration of green and shadows of grey.

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Carlos Cruz-Diez: another notion on color

Colors performances could be so magnificent and truly amazing.  Kinetic art from Carlos Cruz-Diez (Caracas, 1923) shows us the plastic proposition which reveals that he is one of the latest thinkers of the phenomenon of color.

His investigation, based on three chromatic conditions: subtractive, additive and reflexive; has contributed to art by providing a new perspective or approach to color by expanding its perceptive universe.

1965

Chromosaturation (Paris 1965) These works relate to the idea that in the origin of every culture lies a primary event as a starting point. A simple situation that generates a whole system of thoughts, sensitivity, myths, etc.

The Chromosaturation is an artificial environment composed of three color chambers, one red, one green and one blue that immerse the visitor in a completely monochrome situation. This experience creates disturbances in the retina, accustomed to receive wide range of colors simultaneously. The Chromosaturation can act as a trigger, activating in the viewer the notion of color as a material or physical situation, going into space without the aid of any form or even without any support, regardless of cultural beliefs.