Diana Torje

French Contemporary Art by Diana Torje - Constellation

2022

Wood and acrylic on canvas, Diana Torje is a prizewinning Romanian artist born in 1983 & based in Paris whose works have been exhibited in solo and group shows throughout France & w...

Acrylic on canvas Diana Torje is a prizewinning Romanian artist born in 1983 & based in Paris whose works have been exhibited in solo and group shows throughout France & worldwide. ...

Wood and acrylic on canvas, Diana Torje is a prizewinning Romanian artist born in 1983 & based in Paris whose works have been exhibited in solo and group shows throughout France & w...

Diana Torje is a prizewinning Romanian artist born in 1983 & based in Paris whose works have been exhibited in solo and group shows throughout France & wor...

Untitled III Abstract Composition She graduated from the University of Fine Arts Nicolaus Copernicus in Torun, Poland. Graduated with honors in paintings and visual arts 2014. She is a young emerging artist exhibiting in Europe. Her work is visually captivating with great details and movement. Artist Statment: On the surface, these images do not represent anything. They’re compilations of color patches and lines. However, the forms that these two basic components take, create new entities and a variety of paths for interpretation. A patch is the pure color of the background. It’s a vibrating color, living its own, intense life. It’s also a background for the line drawing. In my painting, I decided to treat these two elements as one. The lines are as intense in color as the patches. The line is no longer just a drawing; it’s an equal component of the painting, it creates the painting with its color. While painting, I always kept the same order of applying the paint, so that the line evenly covers the patch, and, observed from a sufficient distance, becomes a patch itself. This creates a kind of optical illusion. Our site has to adapt to drizzle, to a peculiar noise caused by the equivalent of all the elements of the painting whose planes permeate. This mutual permeation enlivens the elements of the painting which seem to vibrate, become liquid and lively. And it was this effect of liquidity that inspired me. I was wondering how to convey the movement of not only water but of everything that lives and grows, of everything that is natural. I decided that multiplication, repeatability of the theme, and the equal character of these features will be the common features that to a great extent will present my interests. The „Noise” series is strictly inspired by nature. One could say that the series represents nature, but it’s a representation so deeply reduced that the true forms of real things disperse and blur, revealing their true meaning.” Exhibition: "Interference", WMiI Nicolaus Copernicus University, Torun 2016 "Image Open", Gallery Brda, Bydgoszcz 2015 "Noise", Gallery of the Vistula River, Torun 2014 "Balc" Black Hole Gallery, Toruń 2010 Exhibition of paintings, Mount Blanc...

Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else? Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north. An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made. Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent. Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper, a rusted stove—is juxtaposed with the soft glow of a yellow circle. This continues Houston’s ongoing use of colour to question the particulars of perception. Heritage of All, White with Greed and Iron, and The Spaces we Breath, Houston’s titles read like lines of a haiku. Composed as prose, they are also confrontational, mapping out the cultural and environmental impacts of the extraction of resources in the Arctic. We witness scenes of violent decay, and yet simply carry on, like Business As Usual. In What Nations Come and Go a pale purple oval nearly fills the frame, revealing only in the very far right a simple cabin in front of a rocky incline. A similar imposing cloud of colour, this time blue, dominates the landscape in Mapped, Claimed, and Evaluated. The north is just as much an idea as it is a place, and is one that looms large in the Canadian imagination. There are few better examples than Glenn Gould...

Original acrylic, abstract painting created on custom stretched gallery style canvas. Note* Shipping to International locations 'Everywhere Else' is an estimate only. Please conta...

Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else? Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north. An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made. Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent. Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper, a rusted stove—is juxtaposed with the soft glow of a yellow circle. This continues Houston’s ongoing use of colour to question the particulars of perception. Heritage of All, White with Greed and Iron, and The Spaces we Breath, Houston’s titles read like lines of a haiku. Composed as prose, they are also confrontational, mapping out the cultural and environmental impacts of the extraction of resources in the Arctic. We witness scenes of violent decay, and yet simply carry on, like Business As Usual. In What Nations Come and Go a pale purple oval nearly fills the frame, revealing only in the very far right a simple cabin in front of a rocky incline. A similar imposing cloud of colour, this time blue, dominates the landscape in Mapped, Claimed, and Evaluated. The north is just as much an idea as it is a place, and is one that looms large in the Canadian imagination. There are few better examples than Glenn Gould...