Delia Ioana Leizeriuc despre expoziţia ”Semnele Timpului”


Delia Ioana Leizeriuc

Delia Ioana Leizeriuc

Constantin Severin e deja un nume în evoluția artei contemporane, iar noi nu putem să nu remarcăm rezultatele sale uimitoare, artistul reuşind cu mult curaj și îndemânare să amestece ”poțiuni magice” pentru a scoate la lumină simboluri de mult uitate, oferind astfel picturilor sale o aură de mister, fapt ce ne impresionează și ne fascinează deopotrivă.
Cea de-a 16-a expoziție personală, intitulată ”Semnele Timpului”, face parte din ciclul Expresionismul Arhetipal, un concept/curent teoretizat şi lansat de artistul sucevean la începutul acestui secol. Acest nou curent artistic i-a adus de altfel un real succes, atât pe plan național cât și internațional, unde elitele avizate și unele galerii de artă din Europa și nu numai, îi apreciază lucrările unice ca stil, viziune și simbolistică.
Cele 18 tablouri expuse ne spun parcă povestea unor intense retrăiri ale unor amintiri-epavă din moştenirea noastră genetică, din inconştientul colectiv, cum sugera Carl Gustav Jung, artistul reuşind să înglobeze, ca un veritabil alchimist, într-o manieră minuţioasă, clară, impecabilă, structuri de sensibilitate din trei tipuri de manifestări arhetipale: utilitare, culturale şi sacre. Unul dintre arhetipurile utilitare este de pildă furca țărănească de tors, pe care artistul o utilizează în multe din compozițiile sale. Cel de-al doilea arhetip este cel cultural, artistul inserând cu îndrăzneală mini-copii ale unor capodopere, tablouri celebre semnate de Diego Velazquez, unul dintre artiştii săi preferaţi, precum ”Las Meninas” și ”Papa Inocențiu al X-lea”, Andrea Mantegna cu ”Christ mort”, Leonardo da Vinci cu ”Doamna cu hermină”, Jan van Eyck cu ”Soții Arnolfini” și multe altele. Tot dintre arhetipurile culturale fac parte şi artefacte din cunoscutele culturi preistorice Cucuteni, Hamangia, Gumelniţa ş.a. situate pe teritoriul țării noastre, dar și civilizații vechi africane, precolumbiene sau scandinave. Artistul preferă să le numească inspirat culturi primordiale, o viziune pe care o împărtăşesc, fiind şi eu frapată de frumuseţea cosmică a unor obiecte utilitare sau de cult, care ne obligă să credem că aceste vechi civilizații erau inteligente, profunde, spirituale și echilibrate, având ca fundament reguli şi ritualuri faste, care le-au ajutat să dăinuiască și să lase în urma lor valori sacre și inegalabile ca stil. Un ultim arhetip, probabil mai adânc înrădăcinat în cugetul și sufletul nostru este cel sacru, iar Severin foloseşte elemente simbolice ortodoxe, precum heruvimii și serafimii, presărate pe ici-colo în unele lucrări, dar nu întâmplător, deoarece artistul a gândit până și cel mai mic detaliu din compozițiile sale.
Fiecare semn, fiecare formă și culoare nu sunt așezate pur întâmplător, toate conlucrează și spun o poveste, transmit un mesaj, ba chiar mai mult, ca sa divulg din ”culisele” atelierului artistului, aproape fiecare tablou divulgă un secret. Doar învățând acest nou alfabet Severin, interpretând corect fiecare simbol și înțelegând arhetipurile, doar așa veți reuși să descifrați secretul din spatele fiecărui tablou. Acest adevăr descoperit de artist și transpus în pictura sa este stâns legat de noi, de moștenirea artistică, istorică și culturală din ADN-ul nostru, transmisă ereditar de la străbunii noștri. Artistul Constantin Severin este generos și ne oferă posibilitatea de a descoperi adevărul ascuns din noi, şi astfel ne frapează, ne influențează și ne ajută să avem o revelație cu privire la identitatea noastră culturală. Arhetipul e un simbol universal, iar artistul sucevean, care se consideră un urmaş al lui Brâncuşi, Ţuculescu şi Klee ştie ca nimeni altul să apese pe clapele unei autentice orgi de sunete primordiale, de forme şi culori pure.
Aș dori să mai menționez că obiectele simbolice străvechi, fie ele din categoria arhetipurilor utilitare, sacre sau culturale au fost create în era primordială mai mult din raţiuni utilitare, ele nu erau destinate probabil contemplării. Unele ajutau la prezicerea viitorului, altele pentru spor în gospodărie sau pentru a proteja familia, unele chiar făceau posibilă comunicarea dintre lumea oamenilor şi cea a zeilor sau dintre vii și morți. Artistul Constantin Severin a avut inspirația și cutezanța să readucă în prim plan aceste simboluri arhetipale (utilitare, culturale și sacre) și să le ridice la rang de artă, introducându-le într-un mod cu totul novator pe scena artei contemporane.
Remarcabile sunt şi picturile monocrome în roșu și galben ale artistului, lucrări cu adevărat expresive nu numai pentru încărcătura simbolică ce o dețin, ci și pentru aspectul sculptural laborios și meticulos. Picturile sale monocrome sunt unice ca stil în lume, cum remarcă şi revista italiană de artă şi arhitectură ‘’It’s Liquid’’, fiind achiziţionale de colecţionari importanţi. Artistul visual Constantin Severin a ştiut să dea viaţă şi să întregească un cod original de valori artistice, ajutându-se inteligent de simetrie, ritm, culoare, sentimente, amintiri, fiind la granița tradiției arhaice cu cea modernă. Îmbinând cu acuratețe și precizie desfășurarea lucrărilor în structuri geometrice, cu puternice culori și simboluri arhetipale, artistul reușește să realizeze o cromatică unitară, un echilibru al formelor și semnelor, iar fiecare element încărcat cu valoare stilistic-simbolică este armonios introdus în compoziție, rezultatul fiind unul vizibil plăcut estetic și impresionant ca forță artistică.
Tablourile sale surprinzătoare, temerare și inconfundabile ne ajută să-l descoperim şi să-l înţelegem mai bine pe artistul şi scriitorul Constantin Severin, o persoană caldă, răbdătoare, dar în același timp spontană și activă, ce uimește publicul iubitor de artă cu ingeniozitatea sa, cu grija și atenția pentru detalii, dusă chiar până la perfecțiune, cu ideile și concepțiile sale noi, care reuşesc să aducă frumosul și esteticul mai aproape de firea umană.

22 ianuarie 2016, Delia Ioana LEIZERIUC

Cu Delia Ioana Leizeriuc, la vernisajul expoziţiei ''Semnele Timpului'', Centrul pentru Promovarea Tradiţiilor Bucovinene, Suceava

Cu Delia Ioana Leizeriuc, la vernisajul expoziţiei ”Semnele Timpului”, Centrul pentru Promovarea Tradiţiilor Bucovinene, Suceava

Delia Ioana Leizeriuc s-a născut în 3 decembrie 1990 la Suceava.
După ce a absolvit Colegiul de Artă ”Ciprian Porumbescu”, Suceava, a urmat cursurile Universitatăţii de Arte ”George Enescu” din Iaşi, Facultatea de arte vizuale şi design, din 2013 fiind licenţiată în Istoria şi teoria artei. În 2015 a obţinut şi diploma de Master în Managementul relaţiilor internaţionale şi cooperării transfrontaliere la Facultatea de Istorie şi Geografie, Universitatea ‘’Ştefan cel Mare’’ din Suceava.
A fost preşedinte al Asociaţiei ARTIUM de la Universitatea de Arte ‘’George Enescu’’ din Iaşi şi a prezentat până în prezent câteva expoziţii de artă, încă din perioada liceului.

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My smallest artwork, my first ACEO’s


Primordial Sounds, ACEO's

Primordial Sounds, ACEO’s

My smallest artwork is my first ACEO’S (Art Cards, Editions and Originals), a commission for an art collector from Portugal, Antonio Ramalho. It’s entitled ”Primordial Sounds”, oil on cardboard, 6,4×8,9 cm.

I told to my new art collector that maybe this will be the first and the last ACEO’s, because it’s really very difficult to create such a small work and in the same time to be representative for my art. The portrait inside the composition is 4,5×4,5 cm!

Antonio sent me a small text with his own interpretation of my artwork. I love it and I hope my readers will enjoy it, too. As an artist it’s very moving to recieve such a special feedback from the worldwide art collectors. They are very cultivated and they really love the collected works and the artists.

”Dear Constantin,

In your i “read” an initiation moment of the boy, that reaches a maturity celebration. You put it inside a square, regarding the individual construction.

The square is surrounded by triangles that represent the movements and outside influences on the individual.

The red one may represent the transformations and future struggles. Existing symbols seem to imply that the changes are often made in isolation and suffered.

The yellow (gold) it seems to open the door to growth, in a world of chaos.

Green may represent a hard growth, because the symbol is inverted.

At last the violet. Perhaps future memories and the participation on the earth growth.

Kind regards

Antonio Ramalho”

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My art is promoted by Artplode, London


Maureen McCarthy, CEO Artplode

Maureen McCarthy, CEO Artplode

Great news for my art lovers and collectors: since January 2016 my art is promoted and sold by the cutting edge Artplode, London, launched in August 2014. My former collectors also have now the opportunity to resell my artworks on it, with higher prices, at my actual quotations, with no commission.

Artplode’s CEO and Founder, the international art dealer Maureen McCarthy, with an experience of over 20 years on the art market, became one of the fans and promoters of my art:

“It is exciting for me when artists of the calibre of Constantin Severin – the founder of a new movement in contemporary art – offer their artwork for sale on Artplode. I hope that through the exposure Constantin’s works get on Artplode that there will be increased awareness and appreciation of Archetypal Expressionism among art lovers all over the world.
Maureen McCarthy, CEO and Founder, Artplode LTD
24 January 2016’’

Here are the links for my three artworks accepted to be promoted and sold by Artplode:

http://www.artplode.com/artwork/Constantin-Severin/Text-and-Time-82/2349
http://www.artplode.com/artwork/Constantin-Severin/Text-and-Time-110/2353
http://www.artplode.com/artwork/Constantin-Severin/Text-and-Time-112/2354

One of my works promoted by Artplode, Text and Time 112. Oil on canvas, 70x90 cm, 2015

One of my works promoted by Artplode, Text and Time 112. Oil on canvas, 70×90 cm, 2015

I have chosen for the readers of my blog a few excerpts of the media coverage about Artplode and Maureen McCarthy:

‘’McCarthy created Artplode principally for art collectors to resell works by established artists without paying any commission. The platform meets a gap in the art market where there are few options for collectors to resell art except through auction houses charging rates of commission of 40% or even higher. Artplode’s “no commission” business model challenges the traditional way art is traded. The website has attracted millions of dollars in listings of artworks from sellers in more than 40 countries who pay a one-off listing fee of $60 and then keep 100% of the price when their artwork sells. Prices range from $1,000 to well into six figures for works by Andy Warhol.’’

(Yahoo Finance)

‘’Always thought commission got in the way of buying art? Well no more. Dealer Maureen McCarthy has launched the online platform Artplode, offering secondary market works with no commission. ‘Artplode launched in August 2014 and now has $5 million + art listings from sellers in 40+ countries,’ said McCarthy, adding that artworks worth several million dollars are being traded on the site by sellers.
McCarthy said there were few outlets for collectors to resell art. In recent years many bricks and mortar galleries have closed their doors due to the GFC and high costs. According to McCarthy many in the art industry, particularly art collectors, are waking up to the fact that the high commissions charged to buy and resell art are unsustainable and unjustified in an era when nearly everyone has access to the internet.’’

(Visual Arts Hub)

‘’”It is exciting that artists and galleries as well as private collectors have enthusiastically embraced our “no commission” business model and are listing high quality works for sale on Artplode”. Galleries in the US, UK Europe are offering works by the Masters Andy Warhol, Matisse, Miro as well as brilliant emerging artists from countries as diverse as Ethiopia and Bulgaria. Aboriginal art and works by important Australian artists John Olsen, Sidney Nolan and Norman Lindsay are for sale on the site. McCarthy said there are few outlets for collectors to resell art. In recent years many bricks and mortar galleries have closed their doors due to the GFC and high costs.’’
(Art News Portal)
‘’The design of the Artplode site is very user-friendly for both buyers and sellers. The listing system is simple to use and the site is easy to navigate. Buyers will be able find exactly what they are looking for thanks to the excellent search function. Another key feature of the site is that sellers engage directly with potential buyers, answering questions about listings and arranging payment and shipping of the works themselves.’’
(Blouin Artinfo)
‘’A number of experts have aligned themselves with Artplode and, for another couple of hundred dollars, ¬provide authenticating services, ¬compared to the thousands charged by auction houses.’’

(Financial Review)

“ ‘We are excited to launch Artplode, which is unique in that we welcome private collectors listing art for sale alongside works being offered by galleries, dealers and artists,’ said Artplode founder and CEO, international art dealer Maureen McCarthy. “Artplode also re-introduces the time honoured tradition of art patrons dealing directly with the master artists.”
McCarthy, who for the past 20 years has been an agent for the publishing arm of the John Lennon estate, represents a number of respected dealers in works by the Masters including Monet, Picasso and Boccioni. She predicts Artplode will be a forerunner of the demise of auction houses that charge 40 percent or higher commission on sales.
“The art industry doesn’t adequately cater for collectors who want to resell art. Artplode fills a gap in the market where collectors can offer art for sale on a high quality website for a listing fee of only £60 per artwork,” she said.
McCarthy says she anticipates Artplode’s no-commission policy will result in private collectors offering many fine artworks never before offered for sale in galleries or auction houses.’’

(Private Art Investor)

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Severin’s Alphabet


alfab

I always thought that the so called pre-historical cultures (I prefer to label them primordial cultures), are more complex and refined than we usually know. In Romania the archeologists already discovered large cities from the primordial age, the time when art was very close to Brancusi’s vision, looking to search for the essence of things, not to copy the reality.

Nowadays some international historians and archeologists are convinced that the first writing in the history of mankind was invented over 10.000 years ago in Central Europe and Balkans and the tablets from Tartaria and Vinča are material proofs for such an assertion.

Text and Time 75, oil on canvas, 70x100 cm, 2010. Work of Archetypal Expressionism, a composition using Severin's Alphabet.

Text and Time 75, oil on canvas, 70×100 cm, 2010. Work of Archetypal Expressionism, a composition using Severin’s Alphabet.

In her cutting edge book, ”Unknown European Identities. Romania-Italy”(Editura Tehnica, Bucharest, 1998), the Romanian author and architect Silvia Păun counted over 120 letters/sacred signs from Central Europe primordial age up to our days, with a huge aestethic potential and I promote them in my art since the beginning ot the XXIth century.

Many of them are used even today by the Romanian peasants as motifs for clothes (especially the famous ia, painted by Matisse), the ornamentation of household objects, tools (mainly wooden, like the beautiful distaff or the traditional carved gates from Maramures) as well of elements of architecture.
‘’Whether we like it or not, Europe is the legitimate heir of this stable, indigenous civilization, at least since the Neolithic, from which it acquired the agricultural techniques, time measuring, writing, the nature worship, of the Sun and the Moon, the megalithic structures, the decorated ceramics, astronomy, music, dance, the philosophical concepts and mainly measure’’, wrote in the postface of this amazing book the Italian expert in prehistorical cultures, Piercarlo Jorio.

When I launched in 2000 my new awarded concept, the archetypal expressionism, I considered that these letters/sacred signs are old archetypes and I included them in my artistic vision and vocabulary, like an identity and soul testimony. They are now part of my artistic alphabet, but in the last years I tried to use them even as a true alphabet for writing, Severin’s Alphabet. When I paint in my studio, in this atmosphere of primordial sacred signs, I have the deep feeling that I do not invent these compositions, I just look for them, making a research into the primordial ocean of knowledge. Who knows, maybe my art concept and art compositions are only copies of similar artworks imagined 7-10.000 years ago, by the Primordial Artists from Cucuteni, Gumelniţa, Hamangia or Vinča cultures, with an immense heritage of artefacts of a cosmic beauty…

I hope in the future I’ll create unique books, artistic objects, written with my own alphabet, with a special flavour from the Primordial Age, if sure I’ll find a publisher ready to join to such a strange spiritual adventure.

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Severin’s Choice: Harumi Abe


8Abe

Art Statement

The idea of home, as described in Gaston Bachelard’s writing, Poetics of Space, has been my primary interest for a while. The home is not just the physical construction in which we live, but more importantly, is a state of mind. This series of works embodies some of my personal journey in search of “home.” Mother Nature swirling around our house can be gentle and comforting, but sometimes is bent on destruction, as in the March 11th tragedy in Japan. We build houses with the hope of creating something new but mostly reinvent the familiar places that comfort us.

My painting process reflects this phenomenon. I create an abstract ground and use the mark as the guild to build the landscape for the home. I use semi-imaginary landscape as vehicle to represent the sublime and its horror of the journey. Just as Albert Bierstadt painted American West as his Swiss Alps, every corner that I explore partly becomes Japan, my homeland.

Bio

Harumi Abe was born in Maebashi, Japan, currently lives in Hollywood FL and Savannah, GA. She has shown her art extensively in South Florida, such as David Castillo Gallery, Hollywood Art and Culture Center and Museum of Art Ft. Lauderdale and more. Her works are collected at Girls Club Collection, Liza and Arturo Mosquera Collection and other private collections. Abe received South Florida Cultural Consortium in 2008 and attended residencies include South Florida Art Center, Vermont Studio Center and Everglades Artist and Residence Program. Abe holds MFA from Florida International University and is a painting professor at Savannah College of Art and Design.

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Harumi Abe. Photo by Teodora Dakova, courtesy Girls' Club, Fort Lauderdale.

Harumi Abe. Photo by Teodora Dakova, courtesy Girls’ Club, Fort Lauderdale.

Harumi Abe

http://www.harumiabe.com /email harumiroom@gmail.com

Education

2008 MFA, Florida International University, Miami, FL (Magna Cum Laude)
2003 BFA, Ai Miami International University of Art & Design, Miami, FL (Cum Laude)
2000 ESL Program, Lake Land College Japan Campus, Tokyo Japan
Professional Experiences
2014- 2015 Professor of Painting, Savannah College of Art and Design, Savannah, GA
2014 Study Abroad Professor of Painting, Savannah College of Art and Design,
Lacoste France
2008-2013 Gallery Director, Broward College Rosemary Duffy Larson Gallery, Davie FL
2008-2013 Adjunct Faculty 2D Design, Drawing 1, Figure Drawing, Painting1, 2, Color
Theory and Art Appreciation, Broward College, Davie FL
2008-2013 Adjunct Faculty Figure Painting, Beginning Painting, 2D design, Beginning
Drawing and Community Outreach, Florida International University, Miami, FL
2010- 2013 Art Instructor Museum of Contemporary Art, Summer Camp, North Miami, FL
2006-2011 Board Member and Art Teacher, Lotus House Homeless Shelter, Sandari
Foundation Overtown, FL
2008-2010 Adjunct Faculty Art Appreciation and Painting, Miami Dade College
Wolfson Campus Miami, FL
2008 Painting Art Teacher, Art Center South Florida, Miami Beach, FL
2007- 2008 Instructor of Record ART 1202, 2D Design and ART 2500C, 3504C Beginning
Painting, FIU, Miami, FL
2005-2008 Curator, Hugin and Munin Gallery, FIU Biscayne Bay Campus, North Miami, FL
2005-2008 Graduate Teaching Assistant, Advance Painting with Geoffrey Olsen, Thesis II
and Painting with Pip Brant and Painting with Donna Torres, FIU, Miami, FL
2004-2005 Assistant to Dr. Carol Damien, Art in State Building Program Coordinator, web
development and graphic design, FIU, Miami, FL
2004 Scenery Design. Great Southern Studio, Miami, FL
2003 Intern Art Department, Bacardi Global Brands Promotions INC, Miami, FL
2003 Intern Dorsch Gallery, Miami, FL
Other Professional Experiences
2014 Artist in Action: Lecture and multiple art work presentation, The Girls Club Collection
2012 Judge: National Association of Women Artist’s Florida Chapter’s Exhibition, “Truth and
Beauty”, Coral Spring Museum
Juror for Artist’s Guild Gallery Exhibition, Boca Raton Museum of Art
Juror for Broward County Regional Scholastic Art Competition, The National Scholastic
Art & Writing Awards
2010 Juror for Signature Level Boca Raton Museum of Art the Artist’ Guild
2010 Panelist: New Curatorial Trends in South Florida Lead by Catalina Jaramillo with
Samantha Salzinger, Michelle Weinberg and Ruba Katrib. Florida Association of
Museum Conference.
2008 Slide Lecture, Thirteen Artists in 2008 Nova Southeastern University
2008 Juror, Broward Art Guild Annual Juried Exhibition
2004 Visiting Artist Lecture for Painting, FIU Biscayne Bay Campus, Miami, FL
Solo Exhibitions
2014 Here We Are, Farside Gallery, Miami, FL
2013 134 days and 21 hours, Lee Wagener Art Gallery,
Ft. Lauderdale-Hollywood International Airport
2012 134 days and 21 hours, Broward College South Campus Gallery
2009 Reverie of Ordinary, Art@Work, Miami, FL
2004 Eau De Artiste-“Synchronize” (MSG Collaboration), Leonard Tachmes Gallery,
North Miami, FL
Group Exhibitions
2015 Escape, 1310 Gallery, Ft. Lauderdale, FL
Landfall, Gutstein Gallery, Savannah, GA
The secret Life of Plants, Clyde Butcher Coconut Grove Gallery, Miami, FL
Somewhere Over the Hedge, Persac Gallery, Ft. Lauderdale, FL
2014 Thirty Years on the Road, Project 924 Art Center South Florida, Miami, FL
Common Ground, Schmidt Center Gallery Florida Atlantic University, Boca Raton, FL
Immediate Surroundings, Gutstein Gallery, Savannah, GA
In Deep, The Deering Estate at Cutler, Miami, FL
2013 I think it’s in my head, curated by TM Sisters, Girls Club, Ft. Lauderdale, FL
Paint City, MBUS, curated by Pip Brant, Miami Beach, FL
New Works 2012, The Rosemary Duffy Larson Gallery, Davie, FL
Abracadabra Art and Culture Center of Hollywood, Hollywood, FL
2012 Art Center/ South Florida Raffle Show Art Center South Florida Richard Shack Gallery,
Miami Beach, FL
Mad Hatter: A Celebration of Spring, Miami Beach Botanical Garden,
Curated by Charo Oquet, Miami Beach, FL
Picaresque, David Castillo Gallery, Miami, FL
Abracadabra Art and Culture Center of Hollywood, Hollywood, FL
New Works 2012, BC Fine Arts Gallery, Davie, FL
2011 Transformation, MBUS Gallery, Miami Beach. FL
Food, Home, Love, Edge Zone, Miami, FL
Japan Now, Art Seen Studio, Miami, FL
New Works 2011, BC Fine Arts Gallery, Davie, FL
2010 Farm, Soya & Pomodoro, Curated by Claudia Scalise, Miami, FL
Heart Happening, Margulies Warehouse, Miami, FL
Mapping Absence St. Thomas-Elgin Public Art Center, Ontario Canada
DCG Open, David Castillo Gallery, Miami, FL
Small Wonders (art) Salon, Artformz, Miami, FL
Adjunctville, BC Fine Arts Gallery, Davie, FL
2009 Time + Temp: surveying the shifting climate of current painting in South Florida
Art and Culture Center of Hollywood, Curated by Jane Hart, Hollywood, FL
Hope Blossoms- an art happening, Margulies Warehouse, Miami, FL
Full House Farside Gallery, Curated by Carlos de Villasante, Miami, FL
VI+IV Annual Adjunct Faculty Exhibition Fine Arts Gallery Broward College, Davie, FL
Art Center/ South Florida Raffle Show Art Center South Florida, Miami Beach, FL
All Media Juried Biennial Art and Culture Center of Hollywood, Juried By Nina Arias,
Hollywood, FL
Abracadabra Art and Culture Center of Hollywood, Hollywood, FL
2008 The Borscht Film Festival: CCCV, Featured Artist, Tower Theater, Miami, FL
Faculty Exhibition, Miami Dade College Wolfson Campus, Miami, FL
Optic Nerve X Museum of Contemporary Art, Juried by Ruba Katrib, North Miami, FL
Thirteen/08, South Florida Cultural Consortium Juried Exhibition
Museum of Art, Ft Lauderdale, Ft Lauderdale, FL
Family Value City Hall Miami Beach, Curated by Jacquenette Arnette, Miami Beach, FL
Works of Art FIU Presidents Council Open House,
The Patricia & Phillip Frost Art Museum, Miami, FL
Alumni Exhibit Showcase Ai Miami International University of Art & Design, Miami, FL
Path The Patricia & Phillip Frost Art Museum, Miami, FL
Umbra Artist Forum, Curated by Mette Tommerup, Miami, FL
Beads Bakehouse Art Complex, Miami, FL
2007 Fast Lambardi Warehouse,Curated by Jordan Massengale, Miami, FL
What were you thinking? Dorsch Gallery, Miami, FL
Wild Wild Wynwood Edge Zone, Curated by David Mersch, Miami, FL
TEN World Art Building-Edge Zone, Miami, FL
Inter-Section/Art Miami 2007 Miami Beach Convention Center,
Curated by Carol Damian and Marta Kozolchyk, South Beach, FL
2006 Inter-Sections/Art Basel Macy’s Downtown Miami
Curated by Carol Damian and Marta Kozolchyk, Miami, FL
Kunst Motel Show , Kunst Motel, Miami, FL
Monster Show Architect International, Curated by Isabel Moros-RigauMiami, FL
the eight Off the Map Atlas Plaza, Miami, FL
Raw Hot New Fresh Awesome Young Emerging Talent Dorsch Gallery,
Curated by Jordan Massengale, Miami, FL
Tastes and Tongues: Miami Food Culture Museum, Miami, FL and Barcelona, Spain
Food Show Hugin and Munin Gallery FIU, North Miami, FL
Guest Artist Annual Art Walk Francie Bishop Good Studio, Ft. Lauderdale, FL
DV 8 Atlas Plaza, Miami, FL
Quiet Lambardi Warehouse, Curated by Jordan Massengale, Miami, FL
2005 Off the Map Atlas Plaza, Curated by Bernice Steinbaum, Miami, FL
MAG Miami Art Gallery, Miami, FL
Space Lambardi Warehouse, Curated by Jordan Massengale, Miami, FL
2004 Scope 2004, (MSG Collaboration), Leonard Tachmes Gallery, Miami, FL
OMNIART Project OMNIART,
Curated by Tina Spiro and Carol Damian, Miami, FL
Till the End of Year The Dorsch Gallery, Miami, FL
Alternative Show Art Center South Florida, Miami Beach, FL
The Intern The Dorsch Gallery, Miami, FL
The Last Show The House, Miami, FL
Assembly Required World Art Building-Edge Zone,
Curated by Carols de Villasante, Miami, FL
2003 BFA Graduation Show Ai Miami International University of Arts & Design, Miami, FL
Art Spirit Free Spirit Art Bar Curated by Robert Chambers, Miami Beach, FL
Frenzy Lambardi Warehouse
Curated by Jordan Massangale and Alisa Pitchenik, Miami, FL
Plugged In: New and Electronic art (MSG collaboration) Hollywood Art and Cultural
Center, Curated by Samantha Salzinger, Hollywood, FL
Le Art-e Avant Gar-te Florida International University W10, Miami, FL
Tanqueray presents “Miami Night Life”Art Center South Florida, South Beach, FL
Roving Friday Group Exhibition, Lambardi Warehouse, Miami, FL
Objex Art Space Objex Art Space, Miami, FL
Arts Lab South Beach Private Gallery, Miami Beach, FL
2002 Dance Now Ensemble VH100, Florida International University, Miami, FL
Untitled Daniel Azoulay Gallery, Miami, FL
Suenalo Absinthouse, Coral Gable, FL
2001 New Show Daniel Azoulay Gallery, Miami, FL
Awards and Residency
2014 Dickinson House Residency, Olsene Belgian
2014 Vermont Studio Center Residency, Johnson, VT Artist’s Grant
2013 Everglades Artist in Residence Program, Everglades National Park, FL
2010-11 Adjunct Faculty of the Year nominated candidate, Broward College Central Campus
2010 Vermont Studio Center Residency, Johnson, VT Artist’s Grant
2008 South Florida Cultural Consortium Fellowship for Visual and Media Artists
2008 Art Center South Florida Full Term Artist in Residence
2005-08Graduate Teaching Assistantship, Florida International University
2007 Women in the Visual Arts Scholarship Award
2003 Deans List: Ai Miami International University Arts and Design
Collections
The Girl’s Club Collection, Francie Bishop Good & David Horvitz, Florida
Dr. Arturo and Liza Mosquera Collection, Florida
Cota Cohen Knobloch, Florida
Enrique Zaiede Personal Collection, France
Jacqueline Gopie, Florida
Natahsa Duwin, Florida
Dr. Nagamitsu Maie, Aomori, Japan
Richard Franklin, Boston, Massachusetts
Dr. Don Rosenblum, Florida
Richard and Ruth Shack Collection, Florida
Dr. John Kaufman, Florida
Cristy Pena and Dan Casey, Florida
Charo Oquet, Florida
Publications
2014 I think it’s in my head, exhibition catalog essay written by Claire Evans and Vanessa
Garcia, published by the Girls Club
Go inside Harumi Abe’s head, Rigina Kaza, Broward Palm Beach Newtimes, March 20
2013 TM Sisters’ Brain Games, Phillip Valys, SunSentinel, Nov. 8
The Storytellers of Harsh Terrain, Nathaniel Sandler, The Miami Rail, Fall 2013
Featured Artist, Candice Russell, The Parklander, September, 2013 Page 65
Featured on Art Loft, WPBT 2 TV Program
No home is an island in harumi Abe’s new show: At the airport, artist’s painting close the
Distance between Hollywood and Japan. Phillp Valys, Sun Sentinel, July 12, 2013
Best of Award 2013, Best Painter, Broward Palm Beach New Times,
2012 El Coleccionismo como Education Y Legado Cultural, Janet Batet, El Nuevo Herald,
October 7
Big Works on Campus, Phillp Valys, Sun Sentinel, September 9
10 Rising Miami Artists to Start Collecting Now, Leila Brillson, Refinery 29, April 11,
A Conversation with Harumi Abe, Eddie Arroyo, Art is About, Feb 8
2009 ‘El arbol de Navidad’ de Harumi Abe, Adriana Herrera, El Nuevo Herald, December, 27,
HYPERLINK “http://southflorida.metromix.com/arts-culture/blog_post/timetemp/
1616005/content”Time+Temp, Colleen Dougher, Metro Mix South Florida,
November 17,
‘Full House’: recodos alternativos de la creacion contemporanea local, Adriana Herrera
El Nuevo Herald, June 28,
2008 The Gang of 13: imagination (and luck) distinguish this year’s Consortium winners,
Fabiola Santiago, Miami Herald, August 24,
South Florida Cultural Consortium juried exhibit at the Museum of Art in
Fort Lauderdale, Emma Trelles, Sun-Sentinel, August 3,
Art Finds a Way, Michael Mills, New Times Broward-Palm Beach, July 24,
From Kinetic Realism to Surrealistically Sublime, Rachel Galvin,
Cultural Quarterly, Summer 2008 Volume XXI, Number 3
2003 Around Town: Miami, Franklin Einspruch, NYFA Interractive

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Severin’s Choice: Farhad Bahram


War of Ignorance 1

War of Ignorance 1



Artist Statement

My current artistic inquiry centers around deconstructing peripheral relationship between medium and message especially in relation to my own body. I am consciously thinking about my body and its dominant physical characteristics as a predicative gesture fixed in time and space. My recent projects have addressed this increasing appearance of the body with the hope of revealing its invisible identity by performing an autopsy on it! What I am referring to is actually a striking moment wherein the invisible message of identity transcends itself into the surface of visibility; liberated from the influence of physical appearance. There is a quality in that moment which coincides with loss; the loss of body/medium through the dissection and rearrangement of its part, or in another word, through re-presentation of the medium.
My attempt is to further understand this reciprocity between the dissected medium and
liberated message, by examining the relational encounter of the audience with the body
through activating the space. What I am proposing is an interactive body of work that
engages both the space and audience in order to mediate a lateral relationship between the
‘visible absence’ of the medium and the ‘invisible presence’ of the message, rather than a
peripheral relationship between visible form and invisible content!

War of Ignorance 2

War of Ignorance 2

War of Ignorance 3

War of Ignorance 3

War of Ignorance

War of Ignorance

War of Ignorance 5

War of Ignorance 5

War of Ignorance 6

War of Ignorance 6

Farhad Bahram

Farhad Bahram

Farhad Bahram, MFA
Curriculum Vitae

• Email: mail@farhadbahram.com • Website: http://www.farhadbahram.com

Education
University of Oregon, Photography, MFA, 2015
University of Oregon, New Media & Culture, Graduate Certification, 2015
San Francisco Art Institute, Photography, MFA, 2011-2012
Mahe Mehr Art & Culture Institute (Tehran, Iran), History of Contemporary Art Certificate,2010
Mahe Mehr Art & Culture Institute (Tehran, Iran), Contemporary Photography Certificate,2009
Azad University of Sothern Tehran (Iran), Mining and Rock Engineering, BS, 2007

Awards and Fellowships

Carlene Ho Award for Excellence in the Arts, Third BiannualFord Alumni Center, Eugene, OR, 2013
Sasakawa Young Leaders Fellowship Fund (Sylff),Graduate Fellowships for International Research, Tokyo, Japan, 2013
Jan Zach Memorial Award and Scholarship,University of Oregon, Eugene, OR, 2012
Graduate Teaching Fellowship,University of Oregon, Eugene, OR, 2012-2015
Student Scholarship AwardSociety for Photographic Education, San Francisco, CA, 2011
Administrative and Academic Experience
Adjunct Professor: ART 101, Understanding Contemporary MediaUniversity of Oregon, Department of Art, Fall 2015, Spring 2016 (upcoming)
Adjunct Professor: ART 111, The Artist ExperienceUniversity of Oregon, Department of Art, Winter 2016 (upcoming)
Adjunct Professor: ART0 250, Introduction to PhotographyUniversity of Oregon, Department of Art, Winter 2016 (upcoming)
Adjunct Professor: ARTD 360, Digital ImagingUniversity of Oregon, Department of Art, Spring 2016 (upcoming)
Lab Instructor: ARTD 252, Interactive Digital ArtUniversity of Oregon, Department of Art, Winter and Spring 2016 (upcoming)
GTF Instructor: ARTD 360, Digital ImagingUniversity of Oregon, Department of Art, Winter and Spring 2015
GTF Instructor: ARTO 250, Introduction to PhotographyUniversity of Oregon, Department of Art, Fall 2014
GTF Instructor: ARTO 354, Digital Photography IUniversity of Oregon, Department of Art, Fall 2013 and Winter 2014
GTF Instructor: ARTD 250, Print Media Digital Arts
University of Oregon, Department of Art, Spring 2014
Departmental Advisor
University of Oregon, Department of Art, 2014
 Member of the Search Committee, Art Department’s Head
University of Oregon, Department of Art, 2014
 Photography Lab Manager
University of Oregon, Department of Art, Fall 2012, Winter, Spring and Summer 2013
 Information Technology Support University of Oregon, School of Journalism and Communication, 2012-2013
 Teaching Assistant / Printing Lab Manager San Francisco Art Institute, 2011-2012
Additional Experience
 Intern Contemporary Dialogue Foundation, San Francisco, 2011-2012
 Founder and Director
Global Mission of Art, 2009-Present
 Photojournalist Hamshahri Newspaper, Iran, 2008-2010
 Photojournalist Nim Negah Newspaper, Iran, 2009-2010
 Photojournalist Mehr-Afarin Foundation, Iran, 2007-2009

Creative Experience

 The Emergent Art Space, International Juried Exhibition Kolkata, India, 2016 (upcoming)
 MFA Thesis Exhibition, Group Show Disjecta Art Center, Portland, OR, 2015
 Second Settlement, Solo Exhibition Gowanus Loft, Brooklyn, NY, 2015
 Translations, International Juried Exhibition The Feldenheimer Gallery, Portland, OR, 2015
 American Pi, Juried Show Jordan Schnitzer Museum of Art, Eugene, OR, 2015
 Being in the in Being, Juried Exhibition LaVerne Krause Gallery, Eugene, OR, 2015
 We are Here, Curated by Ashley Gibson White Box Gallery, Portland, OR, 2014
 InFlux: a night of performance art, Juried Show Jordan Schnitzer Museum of Art, Eugene, OR, 2014
 Shaky Ground, Curated by Sandee McGee Umpqua Valley Arts Center, Roseburg, OR, 2014
 Le Prose du Connaissance, Juried Solo Exhibition Ford Alumni Center, Eugene, OR, 2014
 In Touch, Juried Exhibition Jordan Schnitzer Museum of Art, Eugene, OR, 2014
 Reticency, Solo Exhibition Laatikkomo, Jyväskylä, Finland, 2013
 Siuslaw Library, Juried Exhibition Siuslaw Public Library, Florence, OR, 2013
Take the O Train, Curated by Bruce WolfPop-up Exhibition, Eugene, OR, 2013
Underexposed/Well Hung, Curated by TJ NorrisWashburn Gallery, Eugene, OR, 2013
Light Out, Group ShowWhite Box Gallery, Portland, OR, 2013
Live by Death, Solo ExhibitionAperture Gallery, Eugene, OR, 2013
Teleography, Solo ExhibitionWashburn Gallery, Eugene, OR, 2013
Our Children, Juried Show, Curated by GMOAPlâtre et Moi Gallery, Paris, France, 2012
In the Currents, Curated by Taraneh Hemami and Lucy LinAsian Resource Gallery, Oakland, CA, 2012
Crappy Birthday, Group ShowSwell Gallery, San Francisco, CA, 2012
You are Beautiful, Group ExhibitionMission Cultural Center, San Francisco, CA, 2012
Keep An Eye on Surveillance, Curated by Hanna RegevPerformance Art Institute (PAI), San Francisco, CA, 2011
BAN6 STUDENT SLIDESLAM, Juried ExhibitionYerba Buena Center For the Arts, San Francisco, CA, 2011
Date with the Subject, Solo ShowSazmanab Center for Contemporary Art, Tehran, Iran, 2011
Aksbazi, Juried ExhibitionAaran Gallery, Tehran, Iran, 2011
Little Dancer, Curated by Mohsen FazeliHenna Art Gallery, Tehran, Iran, 2011
Global Collaboration, Curated by GMOAFravahr Art Gallery, Tehran, Iran, 2010
Publications and Interviews
Reversalirty [link]Investigating social identities through a curatorial art project
New Media & Culture Program [link]Featuring Farhad Bahram, 2015
Graduate School, University of Oregon [link]
Sylff Fellowship for International Research, 2014
School of Architecture and Allied Arts, University of Oregon [link]Artist’s work fuses art and social science, 2013
Laatikkomo Project [link]Interviewing Farhad Bahram, Finland, 2013
Voice of America [link]Live TV Interview, Los Angeles, 2013
Art Practical [link]In the currents, A Review by Dorothy Santos, 2012
Reframing Photography [link]Online Interview, 2012

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Norman Lock about The Couple (Text and Time 112)


Norman Lock

Norman Lock



There is much to relish and admire in The Couple, a mysteriously simple (and by that, I mean you arrive, again, at a simplicity of form that has resolved an intricacy of motifs) homage to Man and Woman in physical and emotional harmony (or a Man/Woman = Human Being), which represents the personality in harmonious resolution. The woman, or womanly aspect of being, is gravid and bears, in its pictorial “DNA” the perpetuation of the form — i.e., our being and nature. It is a rich and altogether satisfying figuration, my friend — an image sacred to our kind and ecclesiastical in its evocation. (It is also pleasing to look at!)

The Couple (Text and Time 112, oil on canvas, 70x90 cm, 2015)

The Couple (Text and Time 112, oil on canvas, 70×90 cm, 2015)

About Norman Lock:

Norman Lock has written stage and radio plays, as well as short fiction, poetry, and novels. His most recent productions include a lengthy run of The House of Correction in Istanbul and Ankara and performances in Warsaw and Athens, a staged reading of The Book of Stains in Essen, Germany, and a broadcast by WDR Germany of Mounting Panic. Mounting Panic is presently being translated into Russian. Recent novels include American Meteor and The Boy in His Winter. He is also a regular contributor of scenarios for video-art installations to Visual ArtBeat Magazine, Austria (www.visualartbeat.com). He has won The Paris Review Aga Khan Prize for Fiction and the Dactyl Foundation for the Arts & Humanities Literary Fiction Award, and writing fellowships from the New Jersey Council on the Arts, the Pennsylvania Council on the Arts, and the National Endowment for the Arts. Norman lives outside New York City, in Aberdeen, New Jersey, with his wife, Helen. To find out more on the “American” novels, visit http://blpress.org/authors/norman-lock/

A Partial Bibliography

The House of Correction, Broadway Play Publishing, 1988
A History of the Imagination, Fiction Collective Two, 2004
Land of the Snow Men, Calamari Press, 2005
The Long Rowing Unto Morning, Ravenna Press, 2006
The King of Sweden, Ravenna Press, 2009
Three Plays, Noemi Press, 2011
Grim Tales, Mud Luscious Press, 2011
Pieces for Small Orchestra & Other Fictions, Spuyten Duyvil, 2011
Love Among the Particles, Bellevue Literary Press, 2013
In the Time of Rat, Ravenna Press, 2013
The Boy in His Winter, Bellevue Literary Press, 2014
American Meteor, Bellevue Literary Press, 2015

Norman Lock& Constantin Severin, featured by Bellevue Literary Press, New York:

http://blpress.org/news/blp-conversations-norman-lock-constantin-severin/

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