David Sorensen

Gestural Field - large, bright, warm, lyrical, abstract oil on canvas

2006

A masterful colourist, this engaging abstract is by David Sorensen. The Canadian artist was known for his bright colour palette and dynamic form. This piece—rows of colour—orange, yellow, blue, golden brown, pale green and black overlap and play against a deep blue grid-like background. Sorensen admired and was influenced by the work of Quebec’s Jean-Paul Riopelle and American abstract expressionists Jackson Pollock and Franz Kline. “To me there is still this celebration worth the paint. And it’s about an open door that the artist used to call muse.” David Sorensen Born in Vancouver Sorensen (1937-2011) studied at UBC and the Vancouver School of Art. His teachers were renowned—Arthur Erikson...

A vibrant culture is captured in colour and dynamic form in this lively abstract painting by David Sorensen. After visiting Cuba in 1999, the Canadian artist created a series of paintings. The light, the bright colours and the rich atmosphere of life in Havana inspired Sorensen’s colour palette—a brilliant square of yellow in the center, surrounded by graphic shapes in red, orange, lime green, blue and black. Lines of blue and black create a grid-like pattern that runs both horizontally and vertically across the canvas. “Through the medium of his art, a bridge is built between inner sensation and outer world experience, illusion and reality, what we cannot see and what we see, life and afterlife.” John K. Grande, Montreal poet and writer Born in Vancouver Sorensen (1937-2011) studied at UBC and the Vancouver School of Art. His teachers were renowned—Arthur Erikson...

In this colourful abstract painting by David Sorensen, bright red draws the viewer’s eye. The Canadian artist completed a series of oils after visiting Havana, Cuba in 1999. The Havana series was created using a spatula and paintbrush. The result is highly textured pieces rendered in vivid colours—graphic shapes of lime green, orange, indigo and brown. A grid-like pattern of thick vertical and horizontal lines adds visual drama and contrast. “To me, there is still this celebration worth the paint. And it’s about an open door that the artist used to call muse.” David Sorensen Born in Vancouver Sorensen (1937-2011) studied at UBC and the Vancouver School of Art. His teachers were renowned—Arthur...

When David Sorensen visited Havana, Cuba in 1999 he was captivated by the rich textural atmosphere of the city. Using a spatula and paintbrush he created a series of abstract paintings in bright colours and graphic form. No 5 features a sky-blue square in the center, laid over a field of similar shapes in various sizes. Thick lines that run both vertically and horizontally across the canvas add drama. The colour palette—orange, yellow, red, and indigo is both joyful and intense. “Through the medium of his art, a bridge is built between inner sensation and outer world experience, illusion and reality, what we cannot see and what we see, life and afterlife.” John K. Grande, Montreal poet and writer Born in Vancouver Sorensen (1937-2011) studied at UBC and the Vancouver School of Art. His teachers were renowned—Arthur Erikson...

In this small and delicate painting, the combination of paint, pastel and paper collage, create a strong, abstracted composition. Pink and black pop from a vibrant background of inte...

Signs of Memory" is a one-of-a-kind abstract artwork by Italian artist Marilina Marchica, created in 2019. This mixed media painting on canvas (30 x 40 x 2 cm) explores the poetic re...

Composition 7777, 2018., 95x100 cm Abstract composition. Nugzar Avtandilovich Kahiani was born in Poti, Georgia in 1952. He studied at the Art College named after Nikoladze. Then he went to serve in the Soviet Army from1970 to 1972. After completing his military service he entered the Stieglitz St. Petersburg State Academy of Art and Industry at the faculty of artistic metal, from which he graduated in 1986. During his studies, he has been actively engaged in painting. His favorite artists are Gauguin, El Greco, Botticelli, Turner and Picasso. Works of artistic stone He worked also with stone, cornelian and onyx. But his soul gravitated to bright and blustery color, and so he has became engaged in painting. At first his paintings were quiet, with muted tonal gamma. The color image was built on the play of hues and halftones. Such a careful elaboration of color educates the taste, sharpness and delicacy of vision. Gradually, the painter became more experienced, and his paintings acquired assurance and power of maturity, blooming in colorful brilliancy. Nugzar's color preferences The color of Nugzar’s paintings is deep and multi-layered. It is woven of infinite number of hues and filled with light. At first sight it may be difficult to recognize the shapes in the play of flickering color dabs. The figures appear gradually, they draw the first breath just before our eyes, crystallizing from the color heap. The painter is attracted by major tonality and motives that years ago could be called “the gallant feasts” - repasts, assiduities, music parties, and airings. After somewhat daemonic, infernal imagery of early paintings, it has appeared the theme of “Le joie de vivre,” the joy of life. Source of inspiration Born in the ancient Kolkhida, he keeps the blissful pagan feel of entirety and completeness of being. It is embodied almost literally in his favorite personage auroral gorgeous-bodied beauty of a girl. He grants these forms even to Olympian inhabitants - Aphrodite, Athene, Arthemide, let alone the Bacchants. I remember unwittingly that Niko Pirosmani similarly painted on his impoverished buckrams the luxurious prince repasts and languid, elephantine beauties. Working style But his style is not bounded by grotesque parody, as well as the irony is not the only aspect of his world outlook. In his landscapes we can catch the ecstatic admiration with Nature. In contradistinction to his favorite impressionists, he never paints from nature and never bears in mind the particular place. It is just a blooming Earth, studied very closely, so that the trees are cut by the edges of the painting, and at the same time it is a bird’s eye view revealing infinite, boundless spaces. Nougzar says that the landscape for him is first of all a color ensemble. He can just leaf through the illustrated journal, nourishing his eye with color in various combinations, and so get the impulse to create a ‘physical’ landscape image. Probably, his landscapes are no less fantastical than his figure compositions, but such is his talent, his mission - to make the world more beautiful and gentle than it is in reality. Exhibitions Nugzar Kakhiani...

Pastoral scene under the oak tree