Guusje Bertholet

Green Beetle. Large Mixed Media Figurative Painting

2022

Berlin's series of remarkable images of mythically, spiritual women is now augmented by this latest work. The Inner Heart to the Dove of Peace is an intense piece, a paean of hope. H...

Very occasionally a painting invites deep study; nothing exists within it without reason, each form has purpose, every shade has nuance, every line has meaning. Berlin has presented...

Soulful and spiritual she gazes deep into the innermost sanctum of being. She is not a portrait of one woman she is a representation of all women. Strength with nurture, solace with ...

Sax Berlin is emphatically back in the studio!  Emblem of Peace has been woven onto the canvas with the rarest of pigments, precious metal and glistening marble. These precious ingre...

In the series of paintings titled “That Feeling When,” Aldrich expands the excess of materials to large figure paintings and small, overfilled sculptures. Aldrich uses thick materials that protrude from the surface, reminding the viewer that the paintings are not only physical objects in themselves, but also create the illusion of the picture. The work employs a risky excess of material that borders on uncontrollable; becoming metaphoric for barely controlled femininity, the attraction and repulsion of materialism, and the body pressing against constraints. The figures in the paintings are seen from behind or have turned away. The viewer is put in a place of questioning whether they are a voyeur or a co-viewer with the figure of something deeper in the picture plane. The full body paintings of young women based on Nancy Drew...

A figure reclines in a red and yellow-strapped lawn chair. The figure sitting in the chair is activated by Aldrich’s transformation of paint and resin into oozing swaths of skin between the lawn chair straps. The chair, recalling the grid, works as a pattern trying to hold and contain the body resting inside it. -- Building on her previous show, Main Squeeze, which featured bodies pressing through the grid of lawn chairs, in “That Feeling When,” Aldrich expands the excess of materials to large figure paintings and small, overfilled sculptures. Aldrich uses thick materials that protrude from the surface, reminding the viewer that the paintings are not only physical objects in themselves, but also create the illusion of the picture. The work employs a risky excess of material that borders on uncontrollable; becoming metaphoric for barely controlled femininity, the attraction and repulsion of materialism, and the body pressing against constraints. The figures in the paintings are seen from behind or have turned away. The viewer is put in a place of questioning whether they are a voyeur or a co-viewer with the figure of something deeper in the picture plane. The full body paintings...

Reminiscent of the Fauvist movement and Italian classicism, Italian artist Giuseppe Beddru’s bold outlines, dynamic brushstrokes and contrasting use of color make his work visually e...

In a world of disparity, loneliness strives With the words of diversity, brokenness camps Life companions are precious. Relatives and friends are rare. Keep my mind active with your ...