Within the realms of art and painting, we find ourselves on the road to a land that presents itself unto us as coming after impressionism. Art today is all post impressionist, even Presidential portraiture. That would fall as an obscure and pipelined tradition from old tools as taught in L’Academ. You’ll hardly find an artist bound to or even capable of such school taught fine detail. Even criminals would like to convince such old world delicate fingers to take up engraving as they can forge anything, including dead Presidents. Here we are concerned that light upon the photographically detailed can abstract a subject so the definition of line, or color, or object, as we would like to have in the traditional tutelage are no longer a net to catch our understanding art, we are somewhat lost again.
So this looks to the intersection of knowledge like a return to cubism, a return to pointillism, a return to heavy abstraction of reality based objects and subjects. No! It is the organic and unintentional progress when you take these components apart once more as if to start over after impressionism. Impressionism is about color and our column here about colorists. Tiffany and Maxx are fine next to Degas, in this way.
Our featured artist is an amazing grace of the arts. I told Mr. Carrera many things about light and realism, as if he needs to be told! Just see!
There is nothing unrealistic here, but God nevertheless, does not paint in Neon. You would wait a long time for such atmosphere, but it does happen, and this is the miracle of Jose Carrera, and yes, ye who read the previous articles, he too happened looking like Santa. I’m 4 for 4.
I believe when I look upon this, that clouds and sun and Reed Sea drying winds or some strange meteoric particle or chemical pollutants in water, could produce such an image precisely. So this belief is everything we ever spoke of, it is way before ye can be commanded, yer brain – to even so, look this way, look that. You are believing in what you are seeing so you are moving your eye as normal, catching a special oil rainbow or something, but that is how the eye brain obeys! So well…you were fooled! Enjoy!
I took a moment to see if I could peer into the past and see where he perhaps had formerly searched for the abstracted light hanging at the edge of the realitié marking his visions. You absolutly can see this purity in this atmospheric sun. We shall have to ask the Maestro if this represents early work or later.
This is not that, necessarily having the critics raving, it is attractive. But he at some point began to see the level of ‘neon’ he chose increase, become a motif or a tool, it sort of lends a continuity making him wished for, to fill the most white room in the house, the one that gets the most light! Consider this following painting, again, I assume to be later than the neon sun, and earlier than naturalistic neon abstractions of the light itself
A mantisa holds a special place in post impressionism and post modernism. For one thing we are in the post everything era! A sacred symmetric symbol could get lost in here. Thing is, a mantisa naturally uses a hypnotic level of contrasted color, its goes with the territory. This is a fine view into where the neon reality of his art starts, perhaps
I said to Facebook, while trying to preview the show, that these great airy sections of color are like buckets of color seen through the windows of her artist light. I love it! If only, a world of light and color, as CNN drones about the 1 year anniversary of the fall of Afghanistan. What a contrast to the world of art, the world itself is. This conflict nevertheless is a great muse throughout the history of fine art. Look at this by the same artist source of high levels of light that is Luis Carlo Carrera, it is dark by comparison.
The artist looks right squarely at the darkness of poverty, he sees each iota of grime upon its walls of darkness, all within the neon highlighted boundary he has set himself, lucky us! Also below is darkly thought subject matter placed with these high value tones we call neon color.
Who lives here is not rich, this societal darkness has made many artists rich!
Can these be quite dark my dears? Only by subject can they. And what about our historic selection? Did she ever stray from such strong light sources?
Never! But she absolutly abstracted light surfaces, her imagination molded the suburbanization here, into a study of light and etched textures. Simple contrast allows objects pencilled in here, by some brush or tool (or pencil) to glow. Yes, here, not knowing up front is a teaching aid! Is it lovely?
Cossington could hide well, as many of our selections, in plain sight of simplicity! What an illusionist! Let’s return to the present and our very much living artist!
Positivity is a palpable tool of the intangeable worldview of art, floating somewhere between prevalent art tastes, and critical norms at accepted art school. L’Cole cannot define this yellow, orange, and green, making you feel like a sun filled plum, yer own joyful self, crunch!
In photographic perfection, can this be considered modern, does it rise above neon pigmented velvet from the art sales? Certainly, this is the value of viewing long and many. Light itself is the abstraction, since light itself is not this bright. Illuminate! Here also his background our negative space usage is simplistic enough to guide eyes back to subject, front and center.
One might as well attack mantises for their dark vs neon nature.
Oh yeah! These symmetrical frozen lasers were aimed at our eyes going back further down his wall chronologically. This happens if I stare into a black light. Mom says we’ll go blind by staring at it! Is this Vedantic and spiritual? We should ask his grace! We spoke. However though he approves of our DIY review, he does not share studio secrets! He never told us which ones came first, and he shall not be pressed!
Are these mantisa creations, and does each have some codified form as do the Indian ones? At least we have his friendship, so that someday those answers may come to help students understand neon color abstracted realism. We return to the great history of colorists, for a look at Australia and it’s great innovator Cossington.
This above is also hers, somehow unique though. Here are the packages of light we spoke of, she has gone out the window however, and bold sections of light have followed her onto this pathway. Muting of the light on individual surfaces carries the mood work. Feeling the comfort? What have we learned about Her Grace, the late great Grace Cossington? No matter how plain sight, color hides many mechanisms of viewer eye motion. Color is the other line. Both these artists exemplify.
Color hides, even in light filled intensity like neons, it hides in plain sight, some secret, some ancient knowledge of painting. If you can just…with brush, blade, or graphite… We say in the video game. Kaplach! It’s good luck in Klingon, all analogies apply! You will need luck! Even matching the great past, is unlikely.
Here Carrera weaves the neon contrast trick, red and orange with blue ghostly shadows, well, these parallels are waving with that trick done, this is a sound, perhaps even a word!
Let’s leave the old motifs and look at some more portraiture, abstract of light.
I’d like to ask him how does he rate sexuality as beauty in context of current art purchasers? He’s looking at hair and makeup like a fashionista, trying hard to depict what beauty ist, or to create beauty and never once even accidentally ending his love affair with neon, she is his true muse, neon is his art bride. This is the miracle of beauty. Let us say goodbye to our Angel of Neon Luiz Carlos Carrera and to Art Austrailia via the color wealth of Grace Cossington Smith! Even in assay to self portraiture she pooled up color artifacts, while defining them, creating beauty.
And you create beauty by buying some artwork, and supporting your Australian Art Review process.
Contact to get in touch with Luiz, 9722566252, text prior to calling, donate to the mag via same for Zelle, email byronmontgomery@att.net
Thank you for reading.
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