Vladimir Prodanovich

'Red Queen II'

2019

Vladimir's neo-expressionist mixed media "Queen" series is highly textured and vibrant.

‘Autumn Clouds No1’ is a large “abstract figurative” contemporary lacquer on wood panel painting of vertical format, created by Vietnamese artist Nguyen The Hung in 2017. Featuring a palette made of a variety of colors such as black, red, blue and green accentuated with gold leaf, this unframed painting exudes a surrealistic feel that would have made a Joan Miró proud. Painted on a dotted gold, dark green and black ground, a trapezoidal character is facing us. His head, reminiscent of medieval jesters and painted in yellow and red, has a cubist flair. Colorful clouds seem to be falling down the character’s garment and adorn the upper sections of the piece, while scintillating stars accentuate the rest of the composition. Colorful wandering clouds in Hung’s works are inspired by traditional cloud ornaments from Vietnam’s ancient citadels and temples. Those ancient ornaments act like a negative version of clouds wandering throughout the space of the pieces. They link together to create a limbo world, where matters become vague and surreal. Another level lies underneath, hiding deep below the clouds the artist has created realms of consciousness and thoughts. Hung, joyful and relaxed, plays around with his dots. Silver dots, golden dots, together they light up the atmosphere to create a passive aura. Ornamental clouds, or simply just dots, they move from one shape to another, unsettled trying to find a logical order for themselves to fit in therefore challenging viewers’ senses. The order of signs creates spaces of uncertainties and invalidities, where the artist’s stories would be tied together and unfold. Silently, the artist submerges himself into an imaginative valley with no boundaries of shapes, strokes, and of random visual connections. The dreamy artist tries to hold on to his childhood memories, from straw scarecrows, late afternoon birds, handmade kites, boys looking after horses in mountain...

‘Land of the Sleepwalker 05’ is a large horizontal contemporary lacquer on wood panel “abstract figurative” painting created by Vietnamese artist Nguyen The Hung in 2017. Featuring a palette made of a variety of colors such as brown, red, black, yellow, blue and green accentuated with gold leaf, the painting presents a format that has a faux-air of Guernica revised by Miró. Painted on a dotted ground, two characters walk among a variety of creatures. We are in the land of the sleepwalker after all… Curves are perfectly balanced by straight lines; light browns oppose themselves to blacks and petite fluffy clouds seem to be falling on the ground. Colorful wandering clouds in Hung’s works are inspired by traditional cloud ornaments from Vietnam’s ancient citadels and temples. Those ancient ornaments act like a negative version of clouds wandering throughout the space of the pieces. They link together to create a limbo world, where matters become vague and surreal. Another level lies underneath, hiding deep below the clouds the artist has created realms of consciousness and thoughts. Hung, joyful and relaxed, plays around with his dots. Silver dots, golden dots, together they light up the atmosphere to create a passive aura. Ornamental clouds, or simply just dots, they move from one shape to another, unsettled trying to find a logical order for themselves to fit in therefore challenging viewers’ senses. The order of signs creates spaces of uncertainties and invalidities, where the artist’s stories would be tied together and unfold. Silently, the artist submerges himself into an imaginative valley with no boundaries of shapes, strokes, and of random visual connections. The dreamy artist tries to hold on to his childhood memories, from straw scarecrows, late afternoon birds, handmade kites, boys looking after horses in mountain...

Colorful wandering clouds in Hung’s works are inspired by traditional cloud ornaments from Vietnam’s ancient citadels and temples. Those ancient ornaments act like a negative version of clouds wandering throughout the space of the pieces. They link together to create a limbo world, where matters become vague and surreal. Another level lies underneath, hiding deep below the clouds the artist has created realms of consciousness and thoughts. Hung, joyful and relaxed, plays around with his dots. Silver dots, golden dots, together they light up the atmosphere to create a passive aura. Ornamental clouds, or simply just dots, they move from one shape to another, unsettled trying to find a logical order for themselves to fit in therefore challenging viewers’ senses. The order of signs creates spaces of uncertainties and invalidities, where the artist’s stories would be tied together and unfold. Silently, the artist submerges himself into an imaginative valley with no boundaries of shapes, strokes, and of random visual connections. The dreamy artist tries to hold on to his childhood memories, from straw scarecrows, late afternoon birds, handmade kites, boys looking after horses in mountain...

Oil, acrylic and copper leaf on steel For centuries, artisans and artists have turned to gold leaf as a way to make their creations shimmer and shine. Also many contemporary artists...

Oil and gold leaf on canvas For centuries, artisans and artists have turned to gold leaf as a way to make their creations shimmer and shine. Also many contemporary artists continue ...

Shyamal Mukherjee - Bawa Biwi - 8 x 8 inches ; 8 x 9 inches ; 12 x 12 inches Oil Reverse on Acrylic on Acrylic Sheet & Acrylic on Canvas ( Set of 18 works ) About the Artist...

"My recent work now becomes more involved with cloud cover and its effect on light and colour through both its translucent and opaque properties. Clouds are visible masses of water droplets or frozen ice crystals suspended in the atmosphere. They have the ability to refract and reflect, creating an ever changing perception of light which inspires my use of colour. I am constantly referring to the paradox of a cloud’s perceived weight and its fragility and the relationship between the cool and warm colours created by it. I have become increasingly interested in catching the moment when heavy overcast clears to reveal clear blue sky, a cool colour that complements the warmth it brings. While the most obvious manifestation of light refraction at this time would occur in the form of a rainbow, I will be concerned with accentuating the infinite, more subtle effects. I find myself inspired increasingly by the works of Turner, who created ephemeral atmospheric effects using large washes of liquid paint. Other influences include Henry Matisse, Francis Cadell...