His goal is to express a feeling, an experience with a palette of colors that can also make people laugh and cry, speak without speaking and connect with those minds that are willing to listen with the power of the eyes. Always tremble or overcome before a blank canvas, which invites doubt, emptiness or the feelings of others; the materialization of the immaterial. Gustav comments that it has always been necessary to have an open mind to the different forms of expression of art, to synesthesia and knowledge in general, without losing sight of the new artistic trends that are emerging at every moment (Ambientes magazine, No. 119 / 2019).

I’m a young artist. My work, and mainly its content, is to paint expression, pain, fear, despair, depression... I want to create an impression and emotion in people. How to understand the psychological state. I put myself in every work and what kind of mental state I am in. Every day I did something to get closer to my dream of being an artist and creating, but it's not really a dream, it's my lifestyle. [...] Because for me, creating work is not about making and selling; it's something more. I want to leave a message for people to know that art, more than creating and selling, has the value of evoking some emotion in them, be it good or bad. The only thing that fulfils me is to actively create. I implemented the artistic vision to give purpose and meaning to art.

The landscape – of any kind I imagine or have ever seen - provokes something inexplicable in me. I paint landscapes because I need to look at them calmly; without the rush of seeing them from a car or from a window or in any way that makes them ephemeral: the clouds, with all the shapes they build up in a matter of seconds; the mountains with all their curves, some more sensual than others; the trees (...). In short, all colour schemes, which if we stop to observe them with our eyes half-open, we can turn them into whatever comes to mind without them ceasing to be completely beautiful landscapes.

In “Antelope Canyon”, there are endless possibilities for artistic compositions. That image is a study of how light sculpts spaces of texture and color into three dimensional layers captured in a two dimensional medium. With his photographs, he wants you to feel what he sees. His passion is to tell visual stories, one frame at a time. More painter than documentarian, the work hopes to showcase an impressionist approach...a type of optical painting. His grouping of images by their common connection to our earth - water, desert, trees and geology, not simply by location - is an expression of his sincere understanding and respect for our world. His artful capture of moments of light reveals an insight into our environment that only the perceptive observer can share (Mark Berndt, photographer, Santa Fe, New Mexico, United States, 2024).

Abstract Surrealism. I’m interested in paradoxically assumed abstraction from the classical techniques of representation. I start from the gestures of automatism, from stains or accidents and – with them – I build on the lines and the tones or values of a reduced palette of colours. I seek to create a surreal image or atmosphere in which the amorphous figures, and their relationship with the background, give meaning to the spatiality and theatricality of the scene. The insinuated and suggested takes shape in dissimilar textures and volumes evoking man's own internal and external nature.

Creativity is like another world, the world that you draw on paper or canvas by adding colors that you choose yourself. Sometimes, this world is so secret that no one but you can solve it. […] Art is my reason to live and I always make sure that my creation comes from the heart…

Victor must save the planimetry of the wall and the evasive maneuver in his canvases and cardboards; to intersect planes, spaces, accumulated stories, verses carved in stone as a result of that perennial dialogue between man and the forces of nature; to rise above any comfortable mimicry on his journey towards the abode of the spirit and deliver a living, malleable work, a way of interpreting any reality, not of reproducing a formal discovery or a way of life... (C. Escala Fernández).

To propitiate from the gesture, a free painting that persists in the environment of its creation.  To expand the matter - given that as it dries it has its own vitality - to tame it. To extend the chaos, to improvise; in a precise time, to achieve results worthy of analysis. To remain in the abstract with traces of appearance, approaching recognisable forms. To scrutinise in creation. To add in the tradition of painting as a foundation to raise with its execution and practice a wok of its own, which, with the enjoyment of visual results, persuades about ideas and comments on life. 

Inspired by his childhood memory of almost idealistic integration of utopian community in which he grew up. After the village demolished, and the community dispersed to another location, the artist began to sketch, paint, and study the remained fragment of houses. He explores the remains of ruined village searching for patterns of partially defined spaces, forms and order. The experience which he gained from the aftermath of once happy community intrigues him to ask what was the invisible force which design and maintain that urban Arcadian physical and mental environment? How is he affected by it?

From 1990 to 2000 I explored working with watercolour and oil painting. Figurative works, landscapes and still lifes. Then I discovered acrylic, which I use to this day, but abstraction has been imposed on me since 2018. By using acrylic and inks on my canvases, their fusion creates amazing graphics. I therefore invite visitors during my exhibitions to free their imagination by discovering my paintings and to share their feelings. It is a moment of sharing that is essential. I have been painting for years, it is fundamental for me, I am guided by my emotions... As an artist I hope to embody a certain idea of ​​freedom of expression, and I wish to evolve and always share reflections with the public.

How to meet fish if the sea is not near and the shores of any river cannot be seen on the canvases. However, they are all there, lying in wait. A Socratic doubt will help the perceiver to look with all the necessary prejudices to unravel the puns camouflaged by the pigments. He ought to listen to the chorus of voices that inhabit abstract and flat surfaces, spirals, intermingled forms [...] in a single or multiple dimensions, in an infinite space, and a time that expands, to become “instruments of the poetry of the canvas" [...] (C. Escala Fernández).

The work is an exploration of the power of color and texture to evoke an emotional or visceral response from the viewer. The process starts backwards, as I begin with a background and allow the image to emerge from it: almost like carving a sculpture out of stone.
Unlike when I restarted, I no longer seek to erase the vestiges of the process, so the finished pieces contain the layers of the process of continuously simplifying and refining the work. In the end, only the essential elements are left that connect the viewer to the work, or at least, that is my goal.

I have always been drawn to drawing and painting. I remember as a child always painting, trying out colour combinations and looking at everything around me to reproduce it in my own way. Although I have specialised in abstract and contemporary art, I also like classical painting, even though it is a completely different style to what I do. In my paintings I like to experiment with different techniques and materials, to achieve the effect I want to show.

You hardly know who I am; I write, I paint since I was a child, today I do it in the silence of the mountain, surrounded by animals. I know, they drink words of love; I dispense the nectar. That a man cries or is sensitive provokes rejection, it is annoying. I am one of them; damned adrenaline. In us, gentleness is mannered and corny, almost despicable; to be strong is a bastion of the chosen, a vital skill to which few of us have access to. In love with sport and vegan, I have published several books, and I am a crazy painter, self-taught who loves the forest, and the colour aquamarine blue.

Miroslav, both in the two-dimensional and three-dimensional works, proposes a way of diseccionar the notion of the reality by means of components that send us to the spatial thing, the temporary thing, the daily thing. But it is in the painting where it seems to find its real desires. Each of his paintings goes through a process of searching from his experience for the outside of society, because the important thing in his works has always been his subject matter, regardless of the aesthetic-formal work. The pictorial work contributes a taste for the ancient and distant thing, a pleasure for the disorder in the imagination.

My work is characterized by a minimalist yet potent visual language that invites viewers to contemplate the profound and the sacred. I challenge traditional historical narratives through contemporary art, creating works that reinterpret historical events, figures, and cultural heritage. My art serves as a tool to question, rewrite, and recontextualize the past, celebrating the blending of cultures and identities.

At first glance, one might think that the colour is applied in quick, frenetic strokes, but it is quite the opposite. Antoine works on canvas, rationalising each brushstroke, taking distance and continuing the process. His creations are true to his nature: energetic, but at the same time balanced. […] In the present, Basquiat and bad painting emerge in the somewhat swirling form of the brushstroke, in the way in which figuration is almost non-existent, where a taste for abstract figuration and the use of diverse frames that make his compositions very noteworthy by proposing other perspectives of the central motifs is also evident.

Each of my works questions the substantiality of our symbolic identity, seeking to extract new perspectives that remained hidden in its cracks. I’m interested in undermining the illusion of reality and language where they draw limits, barriers, boundaries to the human, imposing ultimate truths.

Alternating between gestural spontaneity and sometimes planned conception, thus breaking with the intention of representing something purely specific, I represent my emotions, mood, light, atmosphere and nature. I try to maintain a predilection for abstract art, I use mixed techniques, with acrylic predominating in my latest works, often adding extensive textures, trying to highlight high contrasts, colors and subliminal shapes.

A través de la composición, sus elementos y cromatismo particular interpreto una percepción del mundo circundante. Aunque a estos agrego componentes diversos menos convencionales con los cuales añado pigmentos y texturas a las piezas que se sobreponen a la suavidad del pincel y marcan mi estilo personal de tupida paleta.

Nature has a profound influence on me and every time I meet with myself, I am with my own self. My canvas contains the language of acrylic and pastel with which I speak, conveying my thoughts and emotions. The depth of my paintings, with their sober and textured use of colour, lies in this emotionality rather than in the physicality of the visuals. Beauty may indeed be superficial, but the meaning lies elsewhere, more rooted in the heart and mind. When the viewer connects with the painting, he also joins in this conversation and shares its joy.

His works emerge in this series as atmospheres of light and colour in which visual effects that expand the space before the viewer's gaze are achieved. Any plane is almost indistinguishable in compositions in which textures appear as if to give a material quality to the light of a primordial outburst, in which opposing forces that coexist in the artist’s subconscious can be assumed (C. Escala Fernández).

My thoughts, my ideas always symbolize the reality, society, nature emotion and another way it express science fiction travel experience memoir . All of my work express mortality morbidity. The reality of life such as pains love joy happiness , mature creation etc is the mainly formed in to my sculpture. My work’s gave us some messages about the highest education that which does not merely give us information but make our life in harmony with all existence.

Figuration was my style for more than 40 years exhibiting my work. Now I have needed to create, feel, and squeeze, breaking with everything established to give birth to everything I need to express. [...] I have learned to unlearn what I have learned... This is the essence of expressive creation. I only keep the knowledge that experience gives me, rejecting pre-established forms and concepts. Absolute freedom. PURE AND DIRECT creation and communication of the soul... Intrinsic essence of the artist and her creation.

…En mi pintura el pasado influye y allí encuentra su acomodo: Las costuras de mi madre, las amarras del pescador la corrosión del salitre, las cercas, el bahareque, lo místico religioso, lo mágico caribeño, la simbología indigenista. […] Busco en mis trabajos una reinterpretación de nuestro pasado, intentando que la obra y el objeto convivan en un lenguaje común, que el espectador sienta visual y táctilmente, sensaciones ya vividas…

Before starting to paint, I make an infinite number of sketches and preliminary projects, so that I can choose what I want to keep. […] There are times when I also modify my final sketches, one could say it's like a kind of ‘gestural geometry’, where improvisation and spontaneity are still alive. There is no doubt that concrete geometry is rational, for me its essence is to combine and compose with geometric forms that I like; such as the square, the rectangle, the triangle, the circle, the semicircle. [...] Thus, as I adjust the composition, I do the same with the colours, I play with their intensity and look for contrast. (José Rosabal, hypermediamagazine.com)

I believe in artistic practice as a means of knowledge, a path towards the spirit, and a constant search for the magic inherent in the universe. The work is the testimony of an enquiry into everyday life. The various presentations are evocations, searches, contacts with the desire to penetrate the flow of life.