The wooden canvases of Gladys Bonnet (https://gladysbonnet.com/) are a portal to a world suspended between dreams and reality, memory and imagination, and the raw beauty of nature itself.
Her brushstrokes are a duel with the ephemeral, a struggle to pin down the fleeting shadows of her dreams and the elusive faces of her memories, not as a quest for perfection but as a perpetual trip back and forth into the unknown reaches of her own psyche.
Manoela Medeiros crosses the boundaries of artistic media, blurring the lines between painting, sculpture, performance, and installation, building a tricky relationship between space and time, the physical presence of the artwork and the person looking at it.
Defying easy definitions or categorizations, her creations challenge viewers to reconsider the essence of what they are observing. Is a painting merely a flat canvas, or a three-dimensional sculpture? Does an installation simply occupy space, or does it transform it? Medeiros thrives in this ambiguity, finding beauty in the transient and the undefined.
An Eye of the Mountain, The Guardian of the Cave, A Vertical River, A Lake of Wonders, A Glacier of Blood, The Facade of Fire: Gladys Bonnet uses painting as a diving platform to make a leap of faith into personal mythology.
Born in France in 1999, Bonnet is an artist who explores the nuances of consciousness, fears, the brittleness of existence and deeply intimate thoughts.
She opts for small, postage stamp or postcard-sized "portable" supports for her paintings, some as tiny as 2x2 cm. Painted in oil on wood, those are miniature pieces of art that you can carry with you: like reminders, like small recollections of past and future dreams, like projections of your innermost thoughts, meditations, reflections on the world around you and inside you.
Philip Guston's use of color was never arbitrary; each hue is laden with meaning, a mechanism for exploring themes of violence, identity, and the mundane.
Guston's pinks, often juxtaposed against stark blacks and somber greys, create a visual dissonance that forces viewers to confront the unsettling realities depicted in his paintings. This deliberate use of color is how he challenges perceptions, making approachable the familiar, the strange and the disturbing.
A sea of abstraction, a painting Venus Over Manhattan by Claude Lawrence, with unapologetically bold black lines crossing the canvas like wild vines, each stroke thick and alive with purpose. Nestled between the lively black strokes is a dreamy, almost peaceful color play of viola and light ocean green, a whirlwind of chaos and rhythm.
The beauty of this painting lies in its refusal to be tamed. The colors look as if they are itching to break free, to explore every inch of the canvas. But the black lines keep them in check, creating a spectacular show of organized rebellion. In this artistic universe, chaos and order aren't enemies, but partners in the chaotic and beautiful melody of life. Just like jazz.
Imagine standing at the threshold of an enigmatic forest, a labyrinthine and mysterious expanse, where the grandeur of nature dwarfs human presence. Two small boys climb towering banyan trees with crowns that stretch into the unknown.
Each painting is a portal into a dreamland, an allegory of life's journey, reaching skywards towards aspirations and dreams, or remaining grounded, deeply rooted in the realities of life.
There's a subtle beauty in these artworks, a melodic blend of melancholy and faded hues. Yet, their essence is profoundly positive, capturing the spirit of exploration and courage. Children traverse the colossal branches, undeterred in their fearless exploration of the world and of life itself.
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