Introduction to the art of Iva Troj.

Award-winning contemporary artist Iva Troj creates fine art pieces which seamlessly merge Renaissance aesthetics and techniques with postmodern praxis. Her intensely detailed images achieve astonishing tricks of light and shade, as practiced by the great masters while incorporating dreamlike scenes which challenge cultural norms.

Exhausted by a society in which women often feel vulnerable, threatened, or powerless, Troj recasts the fairer sex as powerful creatures, freed from the “oppressive male gaze” and placed within Edenic settings where they can revel in their own beauty and potential. Blending abstraction with figuration, the natural world with the urban landscape, dream with reality, Troj’s breathtakingly beautiful artworks achieve something truly unique, both in terms of aesthetics and concept.

Iva Troj 0 — Blending abstraction with figuration, the natural world with the urban landscape, dream with reality, Troj’s breathtakingly beautiful artworks achieve something truly unique, both in terms of aesthetics and concept.

“In many ways, I am what you get when you throw ancient Sakar Mountain wisdom failing to adapt to totalitarian ideas right into the pits of post-industrial capitalism. My grandmother’s village used to be in the no man’s land surrounding the Turkish and Greek/Bulgarian border during the communist regime.

Iva Troj 3 — “In many ways, I am what you get when you throw ancient Sakar Mountain wisdom failing to adapt to totalitarian ideas right into the pits of post-industrial capitalism.

It used to be totally isolated from the industrial world and there was no school or a library (or pollution). And somehow my grandma knew what Wabi-sabi was. I asked her about it and she told me a story about a lion tamer. Beauty is ”imperfect, impermanent, and incomplete,” she said. I am not sure how I came to find the clues to Japanese culture.

Iva Troj 1 — It used to be totally isolated from the industrial world and there was no school or a library (or pollution). And somehow my grandma knew what Wabi-sabi was. I asked her about it and she told me a story about a lion tamer. Beauty is ”imperfect, impermanent, and incomplete,” she said.

She never talked about China or Japan, “intimacy”, or appreciation of the ”ingenuous integrity of natural objects”. That was not how she spoke. Instead of using fancy words she showed me things and explained their beauty to me. Her house and her garden were full of evidence of beautiful imperfection.”

Iva Troj 6 — She never talked about China or Japan, “intimacy”, or appreciation of the ”ingenuous integrity of natural objects”. That was not how she spoke.

In 2016, Troj was named Contemporary Art Excellence Artist of the Year and, in 2013, was the winner of the Towry Best of East England Award. She has exhibited both nationally and internationally and is permanently represented in Shoreditch, London.

ARTIST STATEMENT

As a child, I was taught to question one-dimensional narratives, which grew from a survival technique to a development technology of the artistic self. The foe I so often portray almost always represents the normalization of one or more dysfunctional discourses, such as the victimization of the female gender, religious dogma and racial inequality.

Iva Troj 2 — As a child, I was taught to question one-dimensional narratives, which grew from a survival technique to a development technology of the artistic self.

Like many artists, I discuss personal experiences. At the same time, I strive to escape the self, an urge that partially stems from crossing borders in the last years of the cold war.

Iva Troj 5 — Like many artists, I discuss personal experiences. At the same time, I strive to escape the self, an urge that partially stems from crossing borders in the last years of the cold war.

Living through cultural starvation in my childhood has made me restless and hungry for honest creativity with an almost childlike curiosity. In that sense, nothing I discuss is strictly personal. Sexual abuse, violence, trauma… I may present an unusual perspective on these topics stemming from the self, but only as an outset. The work needs to keep changing, relive itself, challenge its own conformity.

Iva Troj 4 — Living through cultural starvation in my childhood has made me restless and hungry for honest creativity with an almost childlike curiosity.

There is a point in every artist’s career when one is tempted to choose a tested and proven path. I’m constantly trying to resist this temptation by containing the “paths” in series where I can explore a motif or a theme without succumbing to the comforts of one visual style. The artists that I look up to for inspiration have one thing in common – constant renewal.

Traditional elements are very central to my body of work. It’s not so much a need to keep the style ”traditional”, but rather the way I speak.

Iva Troj 7 — The artists that I look up to for inspiration have one thing in common – constant renewal.

I grew up in a communist country. We sang songs about machines being superior to man and praised modernity while destroying nature and killing creativity and the human spirit with it. At the same time, my summers were spent in the mountains with my grandmother who had hanging gardens, thousand stories and no TV. These two realities are inseparable in my mind.

The painting technique I mostly use resembles the Flemish method of layering thin veneers of paint between layers of varnish. I start with pencils, pastels and varnish. After that I paint a lighter layer with acrylics and finish with a couple of thicker layers using a combination of mediums, often acrylics and oils, but sometimes gold leaf and inks.

Art Related Index

This is an index of art that I have found profound, interesting, beautiful or enlightening. In any event, I find that art soothes my soul. I enjoy painting figurative and portraits in oils using the more traditional Flemish technique, but it never really brought me the kind of money I need to live off of. Such is the life of a painter today. Please enjoy.

An experiment of a bird in a vacuum jar.

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Introduction to the art of Jason Limons.

Jason Limon is a painter who has exhibited his artwork in galleries across the U.S. and in parts of Europe. He has had recent solo exhibitions in New York City, Chicago and Albuquerque. His current art follows stories based on mythological creatures and paranormal cryptids portrayed with a hint of humor with a dose of strangeness. You can often see his characters brought to life in dimensional form through his complex sculptures. Jason lives and works in San Antonio, Texas with his wife and two daughters.

Jason Limon 0 — His current art follows stories based on mythological creatures and paranormal cryptids portrayed with a hint of humor with a dose of strangeness.

“The main thing that drove me to finding my place in the fine art world was watching and admiring what other artists were doing.”

” I used to spend my days sitting behind a computer working in the graphic design biz and almost every single day I’d scour through illustration annuals and art books we had lying about in shelves and piled on our desks. I was always amazed at the great new things many of these artists were creating.”

Jason Limon 1 — “The main thing that drove me to finding my place in the fine art world was watching and admiring what other artists were doing.”

” For the longest time it was a place where I always felt I belonged, but was frightened to jump into seeing as I have a family to support and all. Over time these feelings just became stronger and I grew really tired and felt restricted by the computer. “

Jason Limon 2 — For the longest time it was a place where I always felt I belonged, but was frightened to jump into seeing as I have a family to support and all.

“I decided to dive in head first in 2007 and began painting full time and all good things just snowballed from there. It’s been a tremendous honor and pleasure to be able to be in the exhibits I’ve been in. I do look forward to seeing what more this avenue has in store for me.” – Jason Limon (Murphy Design)

Jason Limon 3 — I decided to dive in head first in 2007 and began painting full time and all good things just snowballed from there.

“Over the last few years when I would lay down to sleep at the end of the day the first thoughts that would run through my head were about death. I’m not a morbid person, nor am I afraid of death. The thoughts were typically quick, then I’d do my best to understand what they meant, but would usually fall asleep before even coming close to an answer.”

Jason Limon 4 — Over the last few years when I would lay down to sleep at the end of the day the first thoughts that would run through my head were about death.

“They went on for a little over two years and I noticed just a few months back that they went away. With hindsight and looking at it altogether I took it as a signal to rethink how I express my feelings through art. “

Jason Limon 5 — With hindsight and looking at it altogether I took it as a signal to rethink how I express my feelings through art.

“Most of what I am saying in these paintings is personal and revolve around fear, confusion and the fragility of life – about not having answers and trying to move beyond these ominous feelings. As dark as it all may sound, it has shed a positive light on how I create. “

Jason Limon 6 — Most of what I am saying in these paintings is personal and revolve around fear, confusion and the fragility of life – about not having answers and trying to move beyond these ominous feelings.

“In most of this work I have also reintroduced the application of typography as well as the usage of multiple panels in a painting; elements that I enjoyed early on, yet had faded with time.“

Jason Limon 7 — In most of this work I have also reintroduced the application of typography as well as the usage of multiple panels in a painting; elements that I enjoyed early on, yet had faded with time.

My images almost always seem to portray doom and gloom! I’ve been shoveling through my brain, tossing out some darkness and trying my hardest to stick to absorbing positive thoughts.

Jason Limon 8 — My images almost always seem to portray doom and gloom! I’ve been shoveling through my brain, tossing out some darkness and trying my hardest to stick to absorbing positive thoughts.

In the process I was thinking about my fifteen year old daughter poking fun of my typical dad concerns, complaints and worries. Sometimes my only response to her is “You Will See“. It’s sometimes tough to keep fighting off problems and remain strong inside.

Of course, we’ve all been through trouble. We deal with it and keep moving ahead. She’s had a different life than I have and I do my best to see her happy, but just a suggestion to keep in mind: It is not that easy to keep going. Hold on to hope through it all as you go forth.

Jason Limon 9 — In the process I was thinking about my fifteen year old daughter poking fun of my typical dad concerns, complaints and worries. Sometimes my only response to her is “You Will See”.

Art Related Index

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Introduction to the art of David Lebow.

Dave Lebow is a representational painter, illustrator and teacher. Born in 1955 in Oklahoma, he has a BFA in Painting from Boston University and an MFA in Experimental Animation from Cal Arts. He studied in Los Angeles with Harry Carmean and Glenn Vilpuu and privately in New York with Burton Silverman and at the Art Students League with Robert Beverly Hale, David Leffel, Daniel Green, Robert Philipp, and Robert Brackman.

In 2000, Dave left painting to work in animation. He went back to painting full time in 2009 and devoted himself to more imaginative, surreal and expressive subject matter. His work was included in the Southwest 90 exhibition at the Museum of Fine Arts in Santa Fe, New Mexico and in the HEY! Modern art & pop culture Act III, Collective exhibition in the Halle Saint Pierre Museum Paris, France.

Dave Lebow 0 — He went back to painting full time in 2009 and devoted himself to more imaginative, surreal and expressive subject matter.

Southern California based artist Dave Lebow walks a line between classical painting and fantasy art. Perhaps best known as the real-life painter behind Showtime series Dexter character “Travis”, Lebow admits that he has always liked strange subject matter.

Dave Lebow 1 — Perhaps best known as the real-life painter behind Showtime series Dexter character “Travis”, Lebow admits that he has always liked strange subject matter.

His oil paintings have the sensitivity and attention to detail of realism, yet they are also mystical, racy and even titillating. They depict a realm inhabited by beautiful, sexy women, both warriors and damsels in distress, and absurd creatures of the night.

Dave Lebow 2 — His oil paintings have the sensitivity and attention to detail of realism, yet they are also mystical, racy and even titillating.

” I’m attracted to subject matter from the world of pulp illustration, other worldly realms of fantasy, drama and horror as well as classical illustration and realism,” Lebow says.

Dave Lebow 5 — ” I’m attracted to subject matter from the world of pulp illustration, other worldly realms of fantasy, drama and horror as well as classical illustration and realism,” Lebow says.

Despite the darkness in his work, there’s something bright and wonderful about Lebow’s brand of insanity where figures appear in both ordinary and out-of-this world places. Whether at the dining room table or in outer space, something unexpected always happens: a little girl discovers a genie in the kitchen cupboard, a woman in a bar is attacked by a flying eyeball, and Ezekial’s Angels receive alien visitors.

Dave Lebow 6 — Despite the darkness in his work, there’s something bright and wonderful about Lebow’s brand of insanity where figures appear in both ordinary and out-of-this world places.

” I love for people to create their own meaning,” Lebow says, pointing to the multitude of characters and visual elements that he applies to his scenes inorder to create a prolonged visual interest. “I want my images to grab you and drag you if not willingly, then kicking and screaming into my picture.” Dave Lebow will debut new paintings in his solo “Prime Time” opening on May 6th at La Luz de Jesus Gallery in Los Angeles.

Dave Lebow 4 — ” I love for people to create their own meaning,” Lebow says, pointing to the multitude of characters and visual elements that he applies to his scenes inorder to create a prolonged visual interest. “I want my images to grab you and drag you if not willingly, then kicking and screaming into my picture.”

Dave Lebow paints nostalgic, pulpy noir narratives using traditional painting techniques. Like an auteur from Hollywood’s Golden Age, Lebow directs themes of adolescent rebellion, oppressive male voyeurism, and hardboiled female revenge by photographing live models in costume.

Dave Lebow 9 — Dave Lebow paints nostalgic, pulpy noir narratives using traditional painting techniques.

His protagonists are photoshopped into fictitious, often absurd, chiaroscuro lit backdrops and then printed on glossy paper resembling the inside of a private eye’s briefcase. After this meticulous photo process is complete, Lebow begins to paint his inspired compositions in the vein of Robert McGinnis, Margaret Brundage, and other masters of the genre.

Dave Lebow 8 — His protagonists are photoshopped into fictitious, often absurd, chiaroscuro lit backdrops and then printed on glossy paper resembling the inside of a private eye’s briefcase.

Each its own tale, the paintings vibrate on social constructs that have become increasingly controversial and/or obsolete in the 21st century. Lebow invites the viewer to read into the imagery. Monster Attacking Woman, for example, depicts a human skeleton with a dinosaur skull invading the space of a submissive, scantily posed woman on a bed wearing only thigh-high panty hose and heels.

Dave Lebow 3 — Each its own tale, the paintings vibrate on social constructs that have become increasingly controversial and/or obsolete in the 21st century.

The symbolism of the dinosaur skull suggests notions of the machismo and womanizing psyche are extinct. Not to mention the obvious- skeletons are dead. The monster is meant to highlight the significance of this historical context, but also emphasize that this social construct is no longer socially acceptable.

Dave Lebow was born in Oklahoma in 1955. He received his BFA in Painting at Boston University and his MFA in Experimental Animation from Cal Arts where he currently teaches portrait painting. He lives and works in Venice, California.

Dave Lebow 7 — The symbolism of the dinosaur skull suggests notions of the machismo and womanizing psyche are extinct. Not to mention the obvious- skeletons are dead.

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Finalist in the Imaginary Realism Category of the Art Renewal Center’s 2013-2014 ARC Salon. Art Renewal Center with the painting “The Enchanted Sword”.

Art Related Index

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Introduction to the art of Chris Peters.

To understand Chris Peters. We need to understand his dream.

TensorDream began as a deep learning neural network whose code was modified by artist Chris Peters to assimilate the vast complexity of landscape imagery. Over a three day period, the neural network studied the composition and palette of thousands of landscape paintings before finally achieving an understanding of their gestalt. Now, in seconds, the A.I. can synthesize and propose new compositions.

These landscapes have an odd, alien quality but are still remarkable given that the software began tabula rasa, an algorithm filled with nothing but the ability to self-learn. The entirety of its knowledge came from the set of digital images presented to it – a collection of paintings curated by Peters, emphasizing the masters of American Tonalism and their dreamy images of primal ground and sky.

Chris Peters 0 — These landscapes have an odd, alien quality but are still remarkable given that the software began tabula rasa, an algorithm filled with nothing but the ability to self-learn.

The A.I. Muse produces digital images, but a digital image is not a painting and a computer printout of the same image is still not a painting, no matter how faithfully rendered. The artist is needed to translate the idea into a language that human beings recognize as theirs. It seems essential that what began as a painting must end as a painting.

When an artist stands in front of a canvas, brush in hand, they are trying to understand the world by making an image of it. A photograph can record that work, which can inspire another painting. A photograph of a painting can even inspire a computer, as it has in the TensorDream project, but only a new physical painting can complete the cycle. From reality, through a series of simulacra and back to reality. And so the exchange between Artist and (AI) Muse continues.

Chris Peters 1 — The A.I. Muse produces digital images, but a digital image is not a painting and a computer printout of the same image is still not a painting, no matter how faithfully rendered. The artist is needed to translate the idea into a language that human beings recognize as theirs.

The final task for the artist was to paint, but it was no easy task. Even for an artist with Peters’ rigorous training, fleshing out the machine’s idea was fraught with difficulty. Where to start? How to establish a point of view? How to render an alien world filled with familiar features? Eventually, Peters began to understand some of the neural network’s logic, and still later to accept and embrace it. Only at this point could Peters bring to the A.I. what it was missing – the knowledge of the real world, the world of sky and trees and water.

In a wholly innovative collaboration between man and machine, new paintings have been manifested that promise us a glimpse into a world at once familiar and fantastic – our world, in fact, as seen by a new intelligence of our own design. By painting this alien view, Chris Peters is beginning to understand the mind of the AI Muse. By looking at these works, we can too.

Chris Peters 5 — The final task for the artist was to paint, but it was no easy task. Even for an artist with Peters’ rigorous training, fleshing out the machine’s idea was fraught with difficulty. Where to start? How to establish a point of view? How to render an alien world filled with familiar features?

Chris Peters’ formal education began in Seattle where he received bachelor’s and master’s degrees from the University of Washington. Later he trained for three years at the Gage Academy of Art, learning the drawing and painting methods of the 19th-century academic tradition.

Chris Peters 3 — Eventually, Peters began to understand some of the neural network’s logic, and still later to accept and embrace it. Only at this point could Peters bring to the A.I. what it was missing – the knowledge of the real world, the world of sky and trees and water.

His work has been exhibited at the Los Angeles County Museum of Art as part of the private collection of Academy Award winning director Guillermo del Toro and he recently completed a solo show at Sullivan Goss Gallery. He’s had eight previous solo shows at galleries in Santa Monica, Santa Fe, and New York City. His collectors include many members of the music and film industries.

Chris Peters 4 — His work has been exhibited at the Los Angeles County Museum of Art as part of the private collection of Academy Award winning director Guillermo del Toro and he recently completed a solo show at Sullivan Goss Gallery.

Art Related Index

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Yeah. RIP Bogie. Others have commented that my little stories at the start of these posts tend to trigger memories.…

RIP, Bogie. Funny thing is, I've been remembering (reminiscing? Not something I'm prone to usually, ugh!) some dogs that used…

Sounds about right. People do very dumb and dangerous things in their young years, and they can end up literally…

Icy, and cold. Ah. "The sun never shines in Syracuse". LOL. -MM

How was Syracuse University?

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