Articles avec #art
WHERE I CAME FROM
This is a song on the lips of gods...
Since gods are spirits,
where do gods live? - you may ask;
gods live in the desert of milk
of honey set in between dry bamboos,
they house in a cave of public streets
of living dead - wrenched of the earth,
they hide in the rusty land of gold
of flowing streams set on swollen faces,
they live in the mind of riches and
the thought of life's tussle.
gods live in the body
In the memories of our being;
of war, pains, smile and joy,
they live in the red wine of our broken bones
and in the seasoned smile of broken promises
(Epistle of lies);
gods live in the pit of unknown pity
on the vast field of greenish grains.
this song reminds me of
the tears of my mother,
the pains of my father,
the plights of my brothers,
and the "dryness" of my sisters...
it reminds me of silence
in the memory of where I came from!
@ Timileyin Gabriel Olajuwon
I'm good at digging the hole in your heart
And live in it
From time to time out
I recaptured some of your bad thoughts
Sealed with thin hemp sutures
Pickled as a cold dish to go with the wine
Full of spicy
Trucco del diavolo
Sono bravo a scavare un foro nel tuo cuore
E viverci dentro
Di tanto in tanto uscirne
Ho riconquistato alcuni dei tuoi cattivi pensieri
Li ho sigillati con suture di canapa sottile
Li ho messi in salamoia come piatto freddo che va Con il vino
Pieno di spezie
(translated by Lidia Chiarelli)
FOR IMMEDIATE RELEASE
"Marsha Solomon Retrospective … Traces of My Brush"
April 4-29, 2016 Opening Reception – Sunday, April 10, 2-4 pm
New York painter Marsha Solomon, a master of both contemporary realism and abstraction will be featured in "Traces of My Brush" her first retrospective exhibition at Fairleigh Dickinson's Edward Williams Gallery, curated by Diana Soorikian, from April 4 to 29, 2016. Selections from four different series of paintings will be included and will cover more than 20 years of Solomon's lyrical, colorful work. The exhibition is free and open to the public.
Solomon's large, color field abstractions from the series "From Rhythm to Form" reflect the influence of the New York School of Abstract Expressionism. They have often been likened to the paintings of Helen Frankenthaler, Morris Louis, and Robert Motherwell. With transparent pools of intense pigment surrounded by thick, vigorous brushstrokes, they chronicle the duality of activity and quietude. They are like ying-yang symbols enacted in paint, inviting deep reflection and evoking a contemplative state.
Her response to nature and to the brush arts of Asia can be seen in "Vines and Flowers." For this series, Solomon studied classical sumi-e ink techniques as practiced by the 15th and 16th century poet-painters of China. "Winter Branch" translates revered practices into a vibrant contemporary nature study.
In her series, "Tapestries" and "The Edge of Color" in both acrylic on canvas and works on paper, Solomon mines the creative possibilities found in groups of objects, from patterns in fabrics, to the forms of plants and flowers, to the translucencies of colored glass. Her still life paintings are alive with line and color. Solomon states, "For me, a still life is never still."
Marsha Solomon is represented by Able Fine Art Gallery in NY and Seoul, Korea. Her work has been widely exhibited in museums and galleries both nationally and internationally. It has been reviewed and featured in magazines and newspapers. "Traces of My Brush" is her first retrospective, and her second solo exhibition in New Jersey. There is an opening reception on Sunday, April 10th from 2-4 p.m. and the artist will be present to discuss her work. Also, at the same time, the All Seasons Chamber Players will present "String Fling" in the adjacent concert hall.
Marsha Solomon's paintings are filled with bold brushwork, strong lines and bright colors. They evoke a joyous vision, and at the same time a deep tranquility. In the field of contemporary art, where concepts and politics often drown out the visual, Solomon's paintings are a refuge.
Fairleigh Dickinson University, Edward Williams Gallery, 150 Kotte Place, Hackensack, NJ 07601
Gallery Hours: Weekdays 8:30 a.m. to 8:30 p.m. Saturdays 9:30 to 2:30 p.m.
Director, Diana Soorikian, For information 201-692-2449
Exposition à Turin - @IMMAGINE&POESIA ASSOCIATION CENTRE, le 14 mai 2015
PROMOTRICE DELLE BELLE ARTI
viale Balsamo Crivelli 11 – 10126 Torino – Italy
Vernissage: le 4 décembre , 18 h
4 décembre - 10 janvier 2015
Fermé le lundi
Installation: SEULEMENT ... pour vos yeux
Les visiteurs sont invités à apporter ou envoyer leurs travaux artistiques (10 x 15 cm) pour l'installation
Thème: Les Yeux
PTJ: When did you first start writing poems?
LC: My first encounter with poetry was back in the early '70s, when I went to London for an English summer course for foreign students. One of the teachers suggested a small poetry competition: we had to extemporize some poetic verses, and my poem "Rhythm of Life" was ranked among the best. Later, as a teacher myself, I taught creative writing courses. In my workshops I led my students to transform their emotions into short poems and - with the help of an art teacher - even into images.
PTJ: Who inspired your early work?
LC: My first poems were inspired by nature in all its aspects, wild and beautiful, but also by urban views, the same images, the same perspectives that had attracted the attention of Allen Ginsberg. His poem, Supermarket in California has appealed to me since the very first time I read it.
I have always written after experiencing a real emotion, according to William Wordsworth’s definition "Poetry is emotion recollected in tranquility.”
PTJ: Also you are an artist. Is there a link between both your poetry and your art?
LC: Poetry and visual art, in my case, proceed on parallel tracks. Today I mainly try to put into practice the principle enunciated by Aeronwy Thomas: "Artists and poets can experience moments of cross-fertilization," and I often look for inspiration at images of fine art photos or of paintings created by other artists or vice-versa. Sometimes the words of poets lead me to put on canvas the emotions they have called forth in me.
PTJ: Can you tell us about the founding of Immagine & Poesia, your wonderful poetry and art organization, and your aims for it ?
LC: Immagine & Poesia is a dream come true. It all started from a meeting with British poet Aeronwy Thomas during her visit to our school in Turin in 2006. She discussed "cross fertilization" between poets and artists, and this was the first step to the enthusiastic project of founding an artistic-literary Movement. Within one year, we had a “Manifesto” and the official presentation of Immagine & Poesia at Teatro Alfa of Torino.
Then a substantial encouragement to continue on this path came from the members of what I consider ‘’my American family” the artists of New York: Adel Gorgy and Marsha Solomon, Mary Gorgy, writer and journalist, and my American publisher Stanley H . Barkan. Recently artist and poet Caroline Mary Kleefeld from Big Sur, California, and Johnmichael Simon and Helen Bar-Lev, publishers of Cyclamens and Swords in Israel, have given their valuable support to the Movement.
And here let me thank you, Peter for being the representative and incomparable supporter of Immagine & Poesia in the United Kingdom.
Today, through the web, Immagine & Poesia has spread around the world and is known and loved by hundreds of artists and poets.
Mary Gorgy, official art critic of the movement, has summed up our aims: “This group of poets and artists believe that the power of the written word and the power of a visual image, when joined, create a new work which is not only greater than the parts, but altered, enhanced, changed and magnified by the union.”
We, the artists and poets of Immagine & Poesia, are convinced that Art and Poetry can bring together people of different cultures, nationalities, and religions and lead them to cooperate with reciprocal esteem and respect.
And we hope, in the near future, to achieve a movement that more and more leads people to be mutually appreciative and tolerant through the channels of the written word and visual images.
PTJ: You collaborated with several artists in your test book the I & P . Did you enjoy the experience ?
LC: My début book Immagine & Poesia - The Movement in Progress can be defined as a compendium of, as the Movement suggests, poems inspired by artworks and images by painters or photographers who have drawn their inspiration from my words. It has been a completely satisfying experience that demonstrates how valid and well-founded are the principles stated in our Manifesto.
PTJ: Your husband is an artist and your son is a photographer . What is it like being longer available to creative family and you comment on each other 's work ?
LC: We are a creative family and it is wonderful to share the love of poetry and art.
For several years the three of us have collaborated with the association " The Friends of Guido Gozzano " of Agliè (Torino) and each of us has brought a contribution – a painting, a fine art photo and a poem – on the occasion of the annual Prize “Il Meleto di Guido Gozzano.”
We carry out our work independently, but at the end we usually realize that we have worked on the same wavelength…
PTJ: What are your future plans for your poetry? Another book?
LC: Immagine & Poesia – The Movement in Progress has received very positive feedback, and since its release it has been selling on Amazon, on the Internet. I am pleased that it has also been acquired for public libraries here, in Torino.
The American poet, Lawrence Ferlinghetti, whom I had the honor of meeting in San Francisco last summer, had words of appreciation for my book and for the project we are pursuing.
Many artists and poets have written to me to let me know they are interested in participating with their works in the event of future publications. And, in the meantime, our activity of publishing collaborations between artists and poets continues on the web...