Exhition notes : Neutral Contrasts, Renaissance Art Gallery
July 10, 2009
Un-embracing ‘accidents’ and adversities with the wildest and boldest strokes
By Philip Paraan
Strangely, as Josef Laureano fittingly sees it, his art chose him rather him choosing it. Enigmatic indeed, but it is no sweet serendipity, no accident but only an undaunted boldness to passionately fulfill his raison d’etre : to paint.
“Neutral contrasts”, As Laureano’s first solo show, can be deemed intimately autobiographical. It’s a diaristic visual showcase of his artistic development and his successful foray into abstraction. It can modestly be said as an account of his silent journey leading to catharsis.
After six years of his painting career, he now paints his boldest, freest and wildest brush strokes full of vicarious emotional and liminal evocations stridently occupying his dominant white canvases, his own distinctive engagement with space and emphasis.
Still with stanch fidelity to his minimalist compositions (for which his works are also known for) in terms of elements and overall pictorality, neutral colors especially black, more pronounced and blaring than in any of his older sets of works. More massive volumes become oblique references to the “boldness and fearlessness” of this show.
Communing with his hefty black strokes are complimenting colors of gauzy hues, resonating his intimate rantings and jubilations and play of emotions where drips also interestingly occupy their natural places in the picture.
They tell and evoke of the courage, freedom and the artist’s silent struggle against the boundaries which have enduringly stymied and bogged down troves of struggling artists, then and now. A silent but a beautiful rebellion of this artist, it yearns to be discerned from his every scrawl of paint.
“After six years of his painting career, he now paints his boldest, freest and wildest brush strokes full of vicarious emotional and liminal evocations stridently occupying his dominant white canvas.”
“Neutrality” in this context also reflects his liberal disposition upon his craft which veers away from the competition and fray of cliques of the art community Though it may be replete of critical fissures, his art intends not to preach and placate a few policing entities, but to celebrate it and connect to an audience.
It is not fair to say that Josef Laureno does not like to talk about his work but as an introspective and reticent who sparsely enunciate his talent, his loudest, sharpest and most evocative words can be understood in his paint.
Finally, what this show tries to clinch between him and his viewers is his most important creative consideration and of self expression: to always be free, and to always remain that way.
July 10, 2009
Un-embracing ‘accidents’ and adversities with the wildest and boldest strokes
By Philip Paraan
Strangely, as Josef Laureano fittingly sees it, his art chose him rather him choosing it. Enigmatic indeed, but it is no sweet serendipity, no accident but only an undaunted boldness to passionately fulfill his raison d’etre : to paint.
“Neutral contrasts”, As Laureano’s first solo show, can be deemed intimately autobiographical. It’s a diaristic visual showcase of his artistic development and his successful foray into abstraction. It can modestly be said as an account of his silent journey leading to catharsis.
After six years of his painting career, he now paints his boldest, freest and wildest brush strokes full of vicarious emotional and liminal evocations stridently occupying his dominant white canvases, his own distinctive engagement with space and emphasis.
Still with stanch fidelity to his minimalist compositions (for which his works are also known for) in terms of elements and overall pictorality, neutral colors especially black, more pronounced and blaring than in any of his older sets of works. More massive volumes become oblique references to the “boldness and fearlessness” of this show.
Communing with his hefty black strokes are complimenting colors of gauzy hues, resonating his intimate rantings and jubilations and play of emotions where drips also interestingly occupy their natural places in the picture.
They tell and evoke of the courage, freedom and the artist’s silent struggle against the boundaries which have enduringly stymied and bogged down troves of struggling artists, then and now. A silent but a beautiful rebellion of this artist, it yearns to be discerned from his every scrawl of paint.
“After six years of his painting career, he now paints his boldest, freest and wildest brush strokes full of vicarious emotional and liminal evocations stridently occupying his dominant white canvas.”
“Neutrality” in this context also reflects his liberal disposition upon his craft which veers away from the competition and fray of cliques of the art community Though it may be replete of critical fissures, his art intends not to preach and placate a few policing entities, but to celebrate it and connect to an audience.
It is not fair to say that Josef Laureno does not like to talk about his work but as an introspective and reticent who sparsely enunciate his talent, his loudest, sharpest and most evocative words can be understood in his paint.
Finally, what this show tries to clinch between him and his viewers is his most important creative consideration and of self expression: to always be free, and to always remain that way.
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