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Serious Art

This is my attempt to figure out what the hell is Art. The blog focuses not on the artwork itself, but rather on the artist's quote concerning his subjective feelings about his work or phenomenon of art in general. May contain copyrighted works that are used under the “Fair Use” act for educational purposes.

Centuries of Hong Kong, 2011 by Lam Tung Pang (b. 1978)
Acrylics, charcoal and pencil on plywood
282.3 × 167.3 × 2 in; 717 × 425 × 5 cm
“In art school one learns about the works created by the great masters. Life experiences do not seem to figure in... — Centuries of Hong Kong, 2011 by Lam Tung Pang (b. 1978)
Acrylics, charcoal and pencil on plywood
282.3 × 167.3 × 2 in; 717 × 425 × 5 cm
“In art school one learns about the works created by the great masters. Life experiences do not seem to figure in our education system. I think learning from life is the most important part of an artist’s education. I do think for an artist it’s crucial to draw from life experiences to be able to give shape to one’s language of artistic expression. While it’s important to learn from the masters, it’s equally important to draw inspiration from the times we live in.”
― L T P

Lam Tung Pang painting

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Sandy Beach, 2018 by Siddharth Parasnis (b.1977)
Oil on canvas
28 × 82 in; 71.1 × 208.3 cm
“Sometimes the canvas takes over and I follow the lead. However, no matter how big or small the painting is, I have to capture the soul of the painting in one... — Sandy Beach, 2018 by Siddharth Parasnis (b.1977)
Oil on canvas
28 × 82 in; 71.1 × 208.3 cm
“Sometimes the canvas takes over and I follow the lead. However, no matter how big or small the painting is, I have to capture the soul of the painting in one session. The painting may take months or even years after that to bring to the conclusion but that one session is what gives the painting ‘life’ or 'birth’ to say the least. If it doesn’t work out, then it starts all over again. Colors have to work together as a whole; capturing all the color relationships in a single session brings harmony.”
― S P

Siddharth Parasnis painting

Looking Up, 2016 by Heather Day (b. 1989)
Mixed media on canvas
56 × 72 in; 142.2 × 182.9 cm
“I rely heavily on juxtapositions in my work, and I’d even say my painting process draws from the energy of moments from nature. A perfect example is Looking... — Looking Up, 2016 by Heather Day (b. 1989)
Mixed media on canvas
56 × 72 in; 142.2 × 182.9 cm
“I rely heavily on juxtapositions in my work, and I’d even say my painting process draws from the energy of moments from nature. A perfect example is Looking Up, a painting I finished last month that now functions as the basis for my current work.
Weeks prior to creating this piece, I had a surfing accident and haven’t been able to get back into the water since. This fear is a new feeling for me. I grew up near water and always associated it with serenity and familiarity. Now I see water as both dangerous and oddly comforting, a cognitive gray area that I pulled onto the canvas. Looking Up represents the tossing and turning under the water and the curiosity of what it would be like if I could see myself from the outside, looking up from the water, or watching myself move within the currents.”
― H D

Heather Day painting abstract painting abstractionism

The Haunting of the Haunted Painting, 2014 by Nicola Verlato (b. 1965)
Oil on canvas
44 × 80 in; 112 × 203 cm
“I don’t care about reality itself; I’m interested in the way we perceive it and manipulate it through models and representations.”
A... — The Haunting of the Haunted Painting, 2014 by Nicola Verlato (b. 1965)
Oil on canvas
44 × 80 in; 112 × 203 cm
“I don’t care about reality itself; I’m interested in the way we perceive it and manipulate it through models and representations.”
A painting on the painting is “The Hands Resist Him” by Bill Stoneham

Nicola Verlato surrealism painting

Landscape Pot 2, 2014 by Jonas Wood (b. 1977)
Oil and acrylic on canvas
120 × 76 in; 304.8 × 193 cm
’…as a figurative painter people say, “Your paintings are so comic book.” Or, “Your paintings are so flat,” or “The colors are strange.” And I’m like,... — Landscape Pot 2, 2014 by Jonas Wood (b. 1977)
Oil and acrylic on canvas
120 × 76 in; 304.8 × 193 cm
’…as a figurative painter people say, “Your paintings are so comic book.” Or, “Your paintings are so flat,” or “The colors are strange.” And I’m like, “It’s just a painting. It’s a painting. I know it’s a painting, and therefore it doesn’t have to have the kind of rules that you think it should have.” ’
‘Look, I was so afraid for way too long. I should have been less afraid in certain circumstances where I made mistakes, for sure. Because you just don’t know your worth. And even now, I’m not—I don’t see myself as other people see me. I don’t come to my studio and think, “I’m the fucking best.” ’
― J W

Jonas Wood painting

Hello Kitten, 2019 by Matthew Grabelsky
Oil on Canvas
16 × 20 in; 41 × 51 cm
“Most of the time I listen to audiobooks while I’m painting. When I’m composing a piece I need it to be quiet but when I’m painting listening to a story helps me... — Hello Kitten, 2019 by Matthew Grabelsky
Oil on Canvas
16 × 20 in; 41 × 51 cm
“Most of the time I listen to audiobooks while I’m painting. When I’m composing a piece I need it to be quiet but when I’m painting listening to a story helps me concentrate. I love that painting allows me to listen to books all day long. I can’t imagine ever having had the time to sit down and get through War and Peace but by listening it only took me a couple of weeks. All of these stories then feed me creative ideas all day which I can then incorporate into my work.”
― M G

Matthew Grabelsky oiloncanvas painting

24.04.98 by Zao Wou-Ki (1920-2013)

Oil on canvas
97 × 130 cm; 38.2 × 51.2 in;

“I think that painting is not a Chinese problem, a European problem, or an American problem, but rather an international problem. So, I think that Chinese painting and Western painting shouldn’t be separated; they should be considered as a whole. For foreigners [that is, anyone who is not Chinese], sketching is a basic skill; for Chinese, the brushwork of calligraphy is a basic skill. These are both basic skills of painting, but you can also use these two skills together. I think that Chinese art and Western art have no conflict; they can only help each other and complement each other. You can’t say that you paint Chinese paintings, and I paint Western paintings, it doesn’t make sense to separate them”
― Zao

Zao Wou-Ki painting

Red Rocker, 2014 by Malcolm T. Liepke (b. 1953)
Oil on canvas.
34 × 46 in; 86 × 116 cm
“After I block in a painting, sometimes it will paint itself. I’ve decided the attitude of the piece, and I know whether or not it will work. If the painting... — Red Rocker, 2014 by Malcolm T. Liepke (b. 1953)
Oil on canvas.
34 × 46 in; 86 × 116 cm
“After I block in a painting, sometimes it will paint itself. I’ve decided the attitude of the piece, and I know whether or not it will work. If the painting fails, it does so at this level.”

painting Malcolm Liepke

Waiting II, 2017 by Robert Proch (b.1986)
Acrylic on canvas
39.4 × 31.5 in; 100 × 80 cm
“I’m not using photography, many times I also avoid precise sketch for the painting. This makes painting process so interesting. You keep the major idea of... — Waiting II, 2017 by Robert Proch (b.1986)
Acrylic on canvas
39.4 × 31.5 in; 100 × 80 cm
“I’m not using photography, many times I also avoid precise sketch for the painting. This makes painting process so interesting. You keep the major idea of finished canvas behind it and follow this path to reach the point when you decide ‘that’s it’. It took me almost 20 years to learn how to choose and operate with space and form of the objects. Right now I’m learning how to play with it for the final idea.”
― R P

Robert Proch painting

Helping Hands by Rebecca Chaperon (b. 1978)
8 × 10 in; 20.3 × 25.4 cm
Acrylic on canvas
“It still surprises me the way I feel when I am painting. There are times when I’m in a very strange state of envisioning as I work while being open to what is... — Helping Hands by Rebecca Chaperon (b. 1978)
8 × 10 in; 20.3 × 25.4 cm
Acrylic on canvas
“It still surprises me the way I feel when I am painting. There are times when I’m in a very strange state of envisioning as I work while being open to what is happening in case the painting starts to suggest another direction.”
― R C

Rebecca Chaperon acryliconcanvas painting

Anthony Sonnenberg