| The New York Optimist |
 |  |  |  |  |  |  |  |  |  |  |  |
| © MMIX, The New York Optimist. All Rights Reserved. The New York Optimist & www.thenewyorkoptimist.com is a registered trademark of The New York Optimist. The New York Optimist is a registered service mark of Thenewyorkoptimist.com. The New York Optimist logo and original photos are a registered trademark of The New York Optimist . All other photos are property of the advertiser. And are rightfully protected under their copyright protections. |
| Regiane Yuki Sabanai Presents Arturo Correa |
Kaleidoscope morning
"Kaleidoscope Morning" is a number that reflects a
diversity of images in our daily travel. A flower, an old car,
a horse, a human being, letters and words, are some of
the ingredients that adorn this work. In this "morning tour"
which is called life, the plurality of elements, ideas and
actions is essential, however, this diversity of life would not
be factors which, as it would be us who would have the
possibility to act in our free will.
"Kaleidoscope Morning" is a number that reflects a
diversity of images in our daily travel. A flower, an old car,
a horse, a human being, letters and words, are some of
the ingredients that adorn this work. In this "morning tour"
which is called life, the plurality of elements, ideas and
actions is essential, however, this diversity of life would not
be factors which, as it would be us who would have the
possibility to act in our free will.
Flowers & Heroes
In Correa, the memory acts at the time of conceiving the
visual motif leading to the material, in the abstract would
be the inner thought that makes tangible in their eyes.
Then the lines cross the defined space of painting forms
and funds for describing the "scene" painting and its
meaning.
In Correa, the memory acts at the time of conceiving the
visual motif leading to the material, in the abstract would
be the inner thought that makes tangible in their eyes.
Then the lines cross the defined space of painting forms
and funds for describing the "scene" painting and its
meaning.
Ascaso Art Gallery - Landscapes Nostalgia
Caracas - March / April 2009 - Arturo Correa's work focuses on recurring and haunting
images, recomposed again and again over the web. Arise from memory and are
rethinking washed tones that reflect the time, like a fresco. His paintings bring together
various objects, seemingly unrelated, overlapping pictorial collage. Nostalgia, as
emotion, orchestra and reconstructs the chaotic and arbitrary form of the unconscious,
before moving on to thinking and later, to hand painting. This exhibition presents two
series: Flowers III and Route 16, conducted from 2007 to 2008, in which Correa is and
develops the themes of floral still life and life as a path, respectively. Differentiated on
the ground, again and series, agree on the fragmented composition, arranging their
parts as if it were a stained glass window. The first trend to more abstract than the
latter. We can observe in the hedges trimmed black color and differentiate it from a
fund, in many cases, constructive and geometrically. Thus, the priority for the artist to
paint, leaving the background, the subject matter of the picture. In order to facilitate
reading and generate a detailed sequence of variations on a theme, each series has
been arranged separately in different rooms. Josefina Núñez / Ascaso Art Gallery
Caracas - March / April 2009 - Arturo Correa's work focuses on recurring and haunting
images, recomposed again and again over the web. Arise from memory and are
rethinking washed tones that reflect the time, like a fresco. His paintings bring together
various objects, seemingly unrelated, overlapping pictorial collage. Nostalgia, as
emotion, orchestra and reconstructs the chaotic and arbitrary form of the unconscious,
before moving on to thinking and later, to hand painting. This exhibition presents two
series: Flowers III and Route 16, conducted from 2007 to 2008, in which Correa is and
develops the themes of floral still life and life as a path, respectively. Differentiated on
the ground, again and series, agree on the fragmented composition, arranging their
parts as if it were a stained glass window. The first trend to more abstract than the
latter. We can observe in the hedges trimmed black color and differentiate it from a
fund, in many cases, constructive and geometrically. Thus, the priority for the artist to
paint, leaving the background, the subject matter of the picture. In order to facilitate
reading and generate a detailed sequence of variations on a theme, each series has
been arranged separately in different rooms. Josefina Núñez / Ascaso Art Gallery
SHARE