OPEN CALL
Worldwide virtual art exhibition in 3D from May 10th to May 30th, 2024.
Deadline to participate: May 3rd.
You are cordially invited to participate in our virtual abstract art exhibit "Yellow: Light and Vision," scheduled for May 2024. This event is an open call to you, bold and innovative creators, who find inspiration in the color yellow.
Yellow, the emblem of brightness and cheer, has always kindled the imagination of artists. Our exhibit is envisioned as a digital stage where each work becomes a portal to the imagination, an exploration of shades ranging from soft lemon yellow to rich and intense gold, blending with other hues. The selected works will serve as an invitation to contemplate the dynamics of emotion and movement, to perceive the balance and harmony that only yellow can evoke.
Your participation is a precious opportunity to express your artistic vision, to weave connections with the world, with other artists, and to honor abstract art in all its endless variations.
To register, please email us a selection of your works that best embody the spirit of the exhibit (2 to 5 works). We eagerly await to see how yellow will materialize through your talent.
1) What was the catalyst that led you to devote yourself to art?
I've always been drawn to the world of art, ever since I was a child. When I was younger, I used to doodle on the edges of my notebooks, and art classes were my favorite. I often drew at home too, but it was my art studies, which introduced me to different artistic fields and techniques, as well as specific courses in oil painting, that began to make me appreciate painting in its own right and give me the desire to specialize. I very quickly wanted to work in this field, but those around me encouraged me to pursue more traditional studies, so my artistic career started late. In my youth, I rarely went to see exhibitions, as my circle of friends had little or no interest in this type of outing, and it was mainly thanks to my husband, who was also passionate about art, that I began to catch up and visit museums more often, whether in major French cities such as Paris and Nice, or in Europe. For a long time, drawing remained my favorite art form, and at one point I even wanted to specialize in comics and storytelling illustration. But preferring the freedom to create abstract compositions straight out of my imaginary world, I gradually turned to acrylic paint, which offers a thousand and one artistic possibilities, each artist being limited only by his or her imagination.
2) Where do you find the inspiration for your work?
I draw inspiration from what I'm feeling at the time I'm painting, although I like to enclose myself in a hermetically sealed bubble when I'm working. The world around me, nature, can also give me ideas, although I transcribe them abstractly onto canvas. I also sometimes listen to music while painting and let the melody guide me. Personal expression and spontaneity always guide my brush, even if, strangely enough, I try to create paintings in a variety of bright colors that convey positive feelings, as if through them I were trying to escape reality and reconnect with a feeling of carefreeness and the search for a certain beauty. While for some artists, painting can be a stressful activity, because of the desire to succeed and the high standards involved, for me it's a source of well-being and relaxation. It's as if I forget what's around me when I'm painting. Most of my canvases feature motifs and repetitive forms, but together they create an energetic, harmonious content. Each canvas is usually different from the last, as I like to experiment with new techniques and create unique compositions. Of course, being a subscriber to social networks allows me to discover new, very talented artists who can inspire me, just like my artist friends.
3) What tools do you prefer to use to express your art?
As for the tools I mainly use to express myself on canvas, there are: brushes of various shapes and textures, both flat and round, with soft synthetic or rougher bristles. I also like to use paint knives, and sometimes experiment with different mediums to achieve particular effects on canvas. I often buy my materials in specialized art stores, although I sometimes use less conventional tools for this type of practice. Gesso is a primer that also comes in handy when I want to smooth the surface. I don't always use the same tools depending on the painting I want to bring to life, it all depends on my feelings and desires at the time, and on what I want to create. I'm also very interested in pouring and pastes that give relief, and I may turn more to these different mediums in the near future to experiment. I know that some artists use pieces of fabric for collage, sponges to create effects and gradations, or resin to give the canvas a shiny, smooth appearance; while the use of textile materials is less appealing to me, playing with everyday objects or DIY tools can be clever, and it's also a good way of diverting an object from its original function to recycle it. When I was a student, teachers used to advise us to rummage through garbage cans in search of ideas and materials for our art projects; it's more complicated to find things that interest us when we're just painting, but if you want to make an inspiration notebook, why not put down some finds that we can use later to imagine a future painting, like designers' moodboards.
4) What criteria guide your choices in combining colors, shapes and textures in your works?
Above all, I'm looking for a combination of colors and shapes to create a harmonious visual that's pleasing to the eye. Aesthetics are important to me, even if I know that some artists use painting above all to express an opinion about the world around them, current events or to denounce injustice. As far as my paintings are concerned, although they always bear a signature, I like to let my imagination run free so that I can invent a unique and beautiful composition, which will perhaps touch some of its observers. Improvisation is sometimes part of my creative process, depending on how I feel and what mood I'm in; a finished abstract painting allows each of us to possess the keys to its composition, according to our personal interpretation and sensibility; it has a universal language, and that's what I like.
5) What emotions or sensations do you seek to evoke in your audience through your art?
Viewers may be intrigued by the canvas: my aim is to catch their eye and make them want to pause in front of it, study it, contemplate it, let their imagination take the lead. Depending on their interpretation, which will be linked to their personal experiences, projections and feelings, this could enable them to see emotions arise in them, to let sensitivity seize them, a characteristic that can be seen as a weakness in today's society, but which I consider to be a strength. I'd love someone to see one of my paintings and say to themselves: beyond its aesthetic appeal, its content speaks to me!
6) What societal, political or personal issues fuel your creative process?
Isolation, fragility, love, grief, hope... Universal themes like these fuel my creative process. Evolving in my work is something important to me; you'll notice that the shades of color I use give all my canvases a positive, light-hearted feel: in this world where violence, selfishness and individuality are commonplace, I'd indeed like to offer people joy and a little happiness. Art is not one of our basic needs for life, but it is necessary for the mind to soften its sorrows, elevate it, sharpen its critical faculties and enable it to open up to what surrounds it. You'll notice that in countries where freedom of expression is repressed, all forms of art are often banned and condemned. I don't claim to be able to change the world, but I do like to think that art is a vehicle for emotions and remains a space where people can express themselves.
7) What models or sources of inspiration influence your artistic style?
I love artists such as Gerard Richter, Joan Mitchell, Paul Klee and the Delaunay couple. I'm particularly interested in lyrical abstraction, expressionism too, even if my work isn't tinged with darkness, as well as orphism and abstract expressionism. More recent artists such as Julia Badow and Bernard Frize are models for me: I find their work absolutely magnificent!
8) How do you generate ideas and transform them into works of art?
Above all, I'm looking for a combination of colors and shapes to create a harmonious visual that's pleasing to the eye. Aesthetics are important to me, even if I know that some artists use painting above all to express an opinion about the world around them, current events or to denounce injustice. As for my canvases, although they always bear a signature, I like to give free rein to my imagination so that I can invent a unique and beautiful composition, which will perhaps touch some of its viewers. Improvisation is sometimes part of my creative process, depending on how I feel and what mood I'm in; a finished abstract painting allows each of us to possess the keys to its composition, depending on our personal interpretation and sensibility; it has a universal language, and that's what I like.
9) How do you overcome obstacles or criticisms that may arise in your artistic projects?
The obstacles I may encounter on my path are not surprising, I think that every artist has already experienced difficulties, the successes that can be seen on social networks, for example, are not representative of reality; a success can be born after a person has experienced several failures, it's experience that forges us and constructive criticism, we can learn lessons and learn, questioning ourselves to evolve and progress. Discovering new techniques, getting rid of automatisms and opening up to new fields of experimentation can be very enriching for an artist. Never rest on your laurels is one of my principles.
10) What studies or courses have you taken to further your art, and what are the defining moments or projects that have shaped your artistic career?
I've taken several general art courses that have opened me up to different art forms and allowed me to try out different tools, as well as oil painting courses. Learning to copy photographs or illustrations allows me to train my eye for observation and detail, and to develop patience and a certain rigor. In addition, to complete my curriculum, I also had the opportunity to follow specific training courses in oil painting, portraits and comic-illustration. I've also taken part in free painting workshops, which have given me a wealth of experience and quality.
For me, exhibitions are opportunities to challenge myself, address certain themes and move forward. I take advantage of each of these events to create new works, work on my technique, compare myself with other artists and move forward... Some art critics have helped me a lot and shed light on my evolution.
11) Is there anything else you'd like to share, any other aspects or curiosities about your art or yourself?
I'd like to thank GalleryOne962 for giving me the opportunity to showcase my work, and for the wonderful artistic springboard it has provided. In my opinion, each of us has a certain artistic sensibility that's just waiting to be expressed, and we shouldn't think that art is only for the elite. The whole of society must find in art the values of exchange and openness, communication and solidarity.
Emilie secured the ART PRIZE in November 2023 at the international virtual exhibition of abstract art, presented by GALLERYONE962
Black and White Exhibition
Black and white monochrome art has been used since the Middle Ages, and can be traced back to the Cistercian Monastic order. In 1134 the head of the order, Bernard of Clairvaux created a legal document on aesthetics, stipulating that all decoration in his Cistercian monasteries could only be in black and white. His belief was that colour was superfluous and could lead to the over-stimulation of senses. His monasteries were a space for prayer and meditation, so all their stained glass and illuminated manuscripts were painted in monochrome. Artists equally embraced the elimination of colour as it gave them the freedom to concentrate on light and shadows, with a particular focus on how light and shadow fall on objects, or on the scene being painted.
The wide range of possibilities of interpretation of monochrome paintings, and the emphasis on feeling is probably one of the reasons for its popularity with artists - monochromatic artworks can provoke deeply personal experiences and strong emotions. A reduction in the palette means an artist can draw the viewer’s attention to a particular subject, concept or technique. Moreover, painting in black and white gives more artistic freedom, as artists no longer have the complexities of working in colour. Therefore, artists can concentrate on form, textures, mark making and symbolic meaning. Black and white can also be used to maximise impact with the stark contrast between black and white emphasizing the message and depictions.
Black and white is often used to represent opposites, for example, white represent light, whereas black represents darkness. Furthermore, white can symbolise goodness, peace, innocence and purity. Whereas, black can symbolise evil, war, or even death. Additionally, black could be used as a means of concealment to create a sense of mystery, intrigue or foreboding. Although black and white are opposites, they do not always have to signify difference, and can exist together in harmony.
Black and white art has played a significant role in modern and contemporary art, and it continues to influence contemporary art today. Often, we see an increase in popularity of monochromatic painting at times when there are aesthetic and socio-political upheavals.
Curated by Sonja Seear @sonja_martin_photography and
Lea Friant @dottedleaf
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