Saturday, May 28, 2011

Alexander Deyneka

May 28th, 2011 . Friday. 

It's been a while since I went to visit Alexander Dayneka's exhibition in Rome at Palazzo delle Esposizioni. That same day, the Palace housed another exposure, the one that me and my boyfriend wanted to see, called "100 masterpieces from the Stadel museum of Frankfurt". Simply amazing. A path from classic to contemporary art , passing by impressionism , of course, expressionism, symbolism and so on. That path simply made me feel " I want more" . Back to the story ... once we finished with 100 masterpieces, our attention has been drawn to a big sign that invites visitors to go up the stairs. We follow the sign to found out that another exhibition was placed on the second floor of the Palace. And here I met for the first time Alexander Deyneka. I liked him, his style, at the very first sight. The brightness of his colors, the shapes of the characters presented in the reminds me kind of propaganda style. It seems that he forgot about curves, that in his perception everything, human beings included were simply straight, kind of cubism I would say, but different, in the contents perhaps. And the dimension of the canvas were impressive, huge. It seems that every details have been perfectly studied to trasnmit a specific message to the audience. 
For instance, " Defense of Petrograd" 1927 is a gigantic white canvas. In the background what looks like a farm and immediately in front of you what looks like a bridge; people walking under the bridge with weapons and a proud expression depicted on their faces . On the bridge, those who returned from the battle field. Still humans being but without the light of life on their faces. They saw something that even the most honorable cause would never erase from their memories, heart, soul. 
The structure of the painting, remind me a circle, people are nothing more than a cog in a wheel, they don't really know what they are going to do, why they are doing so, they have just been persuaded that what ever they're doing is for the right cause, there's no space for other options rather than the two presented , either for or against the cause. 
Alexander Deyneka's artworks arised in me 1000 thoughts. His style, which looks like cartoons sometimes, graphic novels perhaps, really represented the cruelty of war in all its shapes. And that wasn't only for images of war, there's another painting that I really love. It's called "The Pioneer" 1934 . It represents a kid, looking at an airplane, hoping, one day, to fly everywhere in this world. 
Now that I just studied that, I would say that Deyneka's representations of war or dreams seem so dramatic to me because sometimes, reality looks more real when it is represented through images rather than reality itself.

A. Deyneka "Communist on interrogation" 1933

A. Deyneka "The interventionists mercenary" 1931

A . Deyneka "The knocked down ace" 1943

A. Deyneka 
A. Deyneka "Pioneer" 1934

A. Deyneka " The future pilotes" 

A. Deyneka " Goalkeeper" 1934
A. Deyneka "The football player" 1932

A. Deyneka "Morning exercise" 

A. Deyneka " New York" 1935
A. Deyneka "The black concert" 1935

A. Deyneka " On the balcony" 1931

A. Deyneka "Street of Rome" 

A. Deyneka " Rome Spain Square" 

A. Deyneka "Paris Cafe" 1935
A. Deyneka "Parisienne" 1935

A. Deyneka " Saint German" 1935

A. Deyneka "Friends" 1962

That's all Folks!


Alexander Deyneka

The knocked down ace. 1943

Alexander Deyneka

The defense of Petrograd. 1927

Alexander Deyneka

The interventionist's mercenary. 1931

Alexander Deyneka

Communist on Interrogation. 1933

Alexander Deyneka

Defence of Sevastopolya

Alexander Deyneka

Before the onset. 1943

Alexander Deyneka


Alexander Deyneka

Street of Rome

Tuesday, May 24, 2011


Hi guys!

here I am, after a short break, with something new and juicy! Have you ever heard about Surpop art? I haven't until I crashed into it! You know, casualty!  
I was promoting David Merenyis paintings when I saw this curious group on face book called "Surpop's Friends" . I took a look at it:" seems like art, I'll do it!" . So I posted a comment with attached the blog's link . The day after, or the same day, Mr Andrea Marchese answered me that, although he appreciate my effort in promoting a friend's work, I mixed salt with coffee! That was art but a different one. Surpop doesn't know all those artistic canons imposed by the art academies, doesn't know rules, it's free of expression , it's giving the pencil, the freedom of drawing whatever it feels. Shapes , lines, borders, colors, everything looks so perfectly casual that you are forced to think that there's an "order" behind that apparent casualty. I guess there is, but it's relative. What might be best represented in blue for me, can be red for you and vice versa. 
That's my personal thoughts, and I'm not an expert about art, neither about Surpop . 
That's why, that same day, I asked Andrea Marchese, whether he would like to answer some questions, interview style! 

He kindly gave me a positive answer so, here's the interview! 

Enjoy Folks! 


Andrea Marchese

1) About yourself : what’s your background (artistically speaking)? 
It all borns from my observation’s spirit, I've been curious about “images” since when I was child, it could have being a Dalì painting or something written on a wall, whatever! What has always been important for me was to catch pictures and so I inevitably entered in the video and cinema world by being the ones who works behind the cameras.
From there, it started the idea to create moving pictures and almost accidentally, my way definitely turned;
I realized that the mean that mostly matched my creativity was drawing, although it was raw or complicated at the same time.
That was the embryonic phase of my art: making jokes about the history of art that I was studying and do something against boredom.

 2) How would you define Surpop in your own world? 
First of all it needs courage, you must let pictures, shapes, lines that look familiar to you get out of your head, without caring too much about their beauty. Then the game starts; here there are no’s like playing lego with organic material and ideas that surround your existence, your way of feeling and looking at things.
Unconscious  gets blended with external world and you must remember not to "put the cap on the mixer", just let everything splash around on the canvas surface. In this way the creativity process ends to be perceived by the viewer as movement in the space.

3) What made you decide that Surpop is the type of paint that most fits your needs?
I don't live surpop like a proper genre with his dogmas and guidelines, for me it is the easiest way to define what I make. It’ wasn’t about choosing a style from several that better matched my own one, rather it was about choosing one of two ways that I use to create (I make stencil too). It gets more interesting to think about the reverse process and try to understand why do those kind of pictures “get out” of me; pictures that, to resume, got their roots in comics, cartoons, psychedelic illustrations and in part of surrealism and pop-art.

4) Most of the previous art movements attempted to portray and have been influenced by society and its troubles. How, and to what extent to what extent do you think society affects Surpop art?
Society plays an important role in my art, first from the style.
I notice that the generation I belong to trends frequently, like I do, to depict its feelings through what aesthetically looks like cartoons; it simplifys reality using defined outlines and putting inside flashing colors.
This represents an important generational thermometer, which shows their way to look at the world as something stylized and how people are linked to their childhood.
Then there’s my sensibility toward social threads, which includes a critic of a system of power that is incredibly extended and invasive, from the imbalance of social classes to the extent of how society affects the individual's perception and impresses its messages in his/her mind.
This last point is what interest me most, the psychological mechanisms of the contemporary man: his worrying, his way of communicate, his social dynamics etc..

 5) What is the message that you would like to spread with your paintings?
I’m not really shure about what the vision of my artworks could bring to people, I must admit that I have a really transparent attitude, filterless..I let much responsibility to others;
I'm there, in front of you, with my pictures in a open hearted delirious, then it’s up to your sensibility, to your will of listen to me or to your intelligence to catch what’s on going on in the paintings and why.
As I said before, I like to make people think about their nature, about how the world changed us and make us grew up; all it's make to laugh about it or simply to feel pleasure in loosing yourself in fantasy worlds.
Often people who stares at my artworks see something completely different compared to what I ment to depict and this amuse me a lot, it’s part of the unexpected game that I create.

 6) Do you think, in this era of technologies, that paintings is still important and an effective mean to communicate? 
I don’t know, I really don’t know. I think that there's always something more expressive and evocative in something that directly cross your mind and goes to your hand and consequently to a surface through a movement of your hand, there’s something less artificial..but otherwise you can say that is the same for what concern a work made by mouse or graphic tablet, except that with computer graphic you acquire an infinite range of tools and functions.
About that, I prefer limit myself, like a punk musician, who plays 4 simple chords instead of got the possibility to play with an orchestra.
Concluding with the new media topic, I can say that, to really look and observe in every details a paintings on canvas you're forced to be phisically in front of them rather than in front of a screen. And that’s a good thing!

                                                                       The End 

But that's not all Folks! 

If you would like to found out more about this artist, you can click on the link below :

Or find him on Face book! 

Thank you! 


Sunday, May 22, 2011

La guerriera seppia si tiene la luce[sma]

Andrea Marchese.


Suppacorte by Poison_Idea
Suppacorte, a photo by Poison_Idea on Flickr.

Andrea Marchese .


marion by Poison_Idea
marion, a photo by Poison_Idea on Flickr.

Andrea Marchese.

I´ll be your mirror

I´ll be your mirror by Poison_Idea
I´ll be your mirror, a photo by Poison_Idea on Flickr.

Andrea Marchese.

To listen while you're watching some SurPoP artworks!

Uochi Toki - L'estetica


Ready! by Poison_Idea
Ready!, a photo by Poison_Idea on Flickr.

Andrea Marchese.

non posso anche fare attenzione agli scarabocchi dei cameramen

Andrea Marchese.

con la testa nel culo,soffocato dalla tenerezza

Andrea Marchese .

Abbraccia i tuoi incubi

Abbraccia i tuoi incubi by Poison_Idea
Abbraccia i tuoi incubi, a photo by Poison_Idea on Flickr.

Andrea Marchese .

Fenotipo Blues

Fenotipo Blues by Poison_Idea
Fenotipo Blues, a photo by Poison_Idea on Flickr.

Andrea Marchese .

Playlist's backstage

Playlist's backstage by Poison_Idea
Playlist's backstage, a photo by Poison_Idea on Flickr.

Andrea Marchese .

Tuesday, May 10, 2011

Dávid Merényi

Hi guys,
Today May 10, 2011 at 00:21 am, I have the very big honor to present in this blog a great artist, a great friend, a great mushroom! Moreover, a great person.
Seven years ago in high school I got to know a blonde, tiny, boy; not messy or noisy. The one that doesn't like gossip nor chatting, the kind of person who does not open his mouth just because.
Drawing was his passion and that was what let me know his person better. I have this picture of David impressed in my mind: a skinny dude bent on the school desk focus on a piece of paper; and when he takes a break to check that everything is ok, he starts moving his feet as if he is playing an invisible drum, following a rhythm that is only in his head.
You can try to call him… yes you can, let me just wish you Good luck!. Perhaps might sound obvious but David is that kind of person who express himself through his paintings. I mean, you can try to talk with him, ask him question, discuss any kind of topic, you can certainly do it… again, let me wish you, Good luck! He's as complicated as brilliant! It may take an hour or more to get to the point of the discussion, and I'm not referring to any philosophical issue although I had the pleasure to talk about it with him, but, once you reach it, you're simply thankful to have started that conversation.
Anyway, I already talked too much about Mr. David Mereny . Although I just said that it is better take a look at his paintings and try to understand him through them, I asked him some questions, just to give you a brief introduction of himself from his point of view.

Dávid Merényi

1)When and why have you decided to be an artist (painter)? 
Well, i decided to try to get in the university in the summer of 2009 and they took me, then i started to realize what i am going to do actually, to understand how does it work and how beautiful is this.

2)Do you think paint is a successful way to communicate a message? 
Yeah, i think that in some way there could be connections between the art object and the observer subject( public),and the paintings can not only communicate messages but even feelings, emotions, they can touch your soul if you can reach a particular state of mind, if you can be vulnerable and naked enough.

3)Art, like society, developed and change. Today it is possible to use many different devices to make art: Design seems the future of paint and technologies the next step of sculpture. Do you think that "classic" art, like paint, still plays an important role? 
Yeah, we live in the 21 century, and it is important to understand the present we're living in, we shouldn't reject technology and we should be opened to these new medias. Some of the ones you've mentioned are the future of art, and who knows what else will come?
I can tell you that "classic" art, as you defined it, will always have privileged role, because of it's tradition and it's consolidated position. Sometimes i ask myself if there has still importance making paintings, if is it the best way i can express myself, and at the end i'm quite sure of it's legitimacy because of it's particular beauty.

4)How would you define your art? Is it close to any movement?
Oh my art?........full of feelings, like an other dimension. You can feel the moment i lived bottled in the picture, preserving it. You can live it again next time, and it has the drama of becoming past and sad from this angle, but optimistic in other ways, because i do my paintings with accuracy, giving my pictures an evocative and ritual atmosphere. People watching them can be the protagonist of the moment, they can be involved and shocked by the feeling of sublime. My paintings should overwhelm the observer, should shake emotions and show how the landscape affected meWell, landscape painting has big tradition and is still present nowadays. Mine can maybe refer to Gauguin, postimpressionism and naive, but from different angle is more realistic and actual.

5) Is there any message/idea behind your paint or every painting has its own story? 
I think that my message can be read only by knowing the complete artwork i'm doing, and in which i'm still at the beginning.
the feeling i want to communicate, is not immediately clear, maybe by an attentive watch it comes up to the observer.
I wish to bring the observer inside my view, my quietude, my calm world, the thing that should transpire is the peace of mind, the deep moment when you are connected with something you're observing,
the emptiness of peace of mind, sometimes even the fear of something beautiful, the feeling of loneliness, of sublime.
This is why i can't renounce to do my paintings with accuracy and devotion, only the tentative for perfection can produce the drama, the enchanting atmosphere of the peace in my mind.
If me at first can reach the ideal status of vulnerability, the transcendent spiritual essence of the landscape will come to m

6)I know that you would like to go to France and follow the "old-school" way of the en plein air style. Why have you decide to follow the traditional footprint?
Because it's the most beautiful thing ever.

That's not all Folks!

If you want to know better my fellow friend/best artist, you can find him on facebook (such a surprise!)



p.s. Check the old posts to see more paintings! Or click on the links above!