I saw a picture of one of his paintings a few days ago, precisely Blog http://blog.libero.it/sognandooo/ (always cite sources , especially if they give you unexpected thrill ! ) .
At first glance I thought it was real photographs that had been touched up with a special digital filter / software that might give them the appearance of a drawing / painting. So I contacted the blogger, with the intent to find out which software had modified his picture, if she had changed her ... Before I answer came , however , I had already done some research and I discovered the amazing world of Fabian Perez , made up of approximately 250 works halfway between photography and painting. I do not know if this artist compose their works going from memory , using your imagination or maybe the help of looking at photographs made by him . Personally, this does not interest me . I just appreciate ( for example ) the game of focus / out of focus that he masterfully creates with his acrylic paints , making the subject more clearly and more blurred the boundary environments : the traits with which the artist gives body to the architectural , to furnishings, to environments that frame the subjects represented in his paintings , they are simple , sometimes appear coarse , double , full-bodied , on the contrary , the brush strokes used to depict the main subjects are always the most detailed , the sharper , the more accurate (although, in these pictures you can never speak of true clarity and precision of the stroke, indeed! strokes betray the artist's passion and the ardor with which sometimes gives his emotions in the stretch ) . In terms of colors , the additive mixture in the spatial average (as a multiplicity of distinct colors side by side in the various strokes in order to create changes of color , shades and contrasts more or less accentuated in a tiny space of canvas ) is much more rich in subjects main rather than everything that surrounds and furniture. This choice (along with a clever use of lights and contrasts that give charm and depth) enables the artist to emphasize their subjects , but ALWAYS wrapping them in an environment rich in personality and in no fading or marginario . The art of Fabian Perez Glamour is full of sensations elusive and yet full-bodied . He is able to allocate every solid object represented the ability to visually convey those characteristics that are inherent in the object, but usually not visually perceptible . I am speaking of smells , temperature , smoke, dense and aromatic , the roughness of a fabric or the elasticity of the skin , the lightness of a fan, the moisture in the air, the soft voices coming from a room , a square, a road. The poor definition of the rooms and furnishings, do not put them in second place to the main subject : this is not to belittle the " boundary " and promote the "subject" , but represent different from each other (each in more precisely ) a whole series of elements that - together - contribute to the creation of a unique and deeply detailed . The secret is that the work of Fabian Perez hits you immediately and consciously in a visual way , but just as suddenly hits your deepest self , giving you gut feelings and hidden - a simple and superficial reading - escape in their total completeness . And, I guarantee you , if you stop to analyze these pictures quickly and superficial, as I did the first time I saw them , you commit an unforgivable mistake. Treat yourself to an emotion and try to get IN to one of his paintings. First, we must understand that what appears " fuzzy " and " marginal " , it is because in it contains ( and then transmits those around ) smells, tastes , temperatures , textures felt, in short, all those feelings " intangible " and " non-visual " that the artist perceives and intends to convey , however , and this is with the passion and volume, using acrylics because they dry quickly and allow him to follow his impulses , without waiting for a color still wet the limitations in generating a new stroke with the brush . The more points " confused " and " coarse " of his painting , are those in which nestle the feelings stronger. And here Fabian Perez makes a gesture out of the ordinary , not perceptible by all, which makes us understand how an artist can express his strong feelings in those areas (such as the depiction of a floor, a wall, or simply the air / atmosphere around the subject ) that - on the contrary - in a photograph are almost always simple patterns , backgrounds , elements of chromatic contrast , predefined elements that give strong visual impact only because skillfully used by the photographer in the approach between different subjects and surroundings , colors and lights, contrasts and nitidezze . In painting by Fabian Perez is not so : undefined backgrounds that surround the subject if you enclose full-bodied smoke , odors acres , near or distant voices , thoughts , moisture, heat . In Pase de Pecho hardly the observer's eye rests on the soil of the arena or on the darkness of the stands , yet they represent the frenetic action ( perceived powders that are raised from the floor ? And ' from the that you feel the heaviness and the fury of the bull ! ) and the involvement of the public ( led immobility and silence from danger and spectacle of the scene) . The fact - then - that the stands are dark , gives sacredness to the image freezes the moment and tends to focus our attention on the toreador , which in fact appears to us as the only subject in which the artist is truly dedicated since it seems the only figure to contain a noticeable number of details. And so the whole scene starring the toreador dressed in white and gold, elegant and task , as opposed to chromatically black beast and he is angry with "playing" . What strikes me in this context, is the dual use of the rule of thirds , which gives a tremendous harmony of the picture : the banderillas stuck on the back of the bull, in the context assume a structure that creates a horizontal line that cuts into two parts ( one third of the height ) so the entire image , as the only black portion that represents the stands . Finally, the dirt of the arena ( so clear ) is used as a background to enhance and bring out the black figure of the bull. It's trick photography , a feature of which usually go in search of the photographers, whose virtue is to capture a given instant interpreting it visually with very particular perspective , focusing on the search for harmony and balance in form, color and light. The painting of Fabian Perez is often lively and realistic , and will be even more exciting if you try to make the atmosphere affect the boundary of his works , avoiding linger only on the illuminated figures , central or emerging of his paintings . Enter into a framework of Fabian Perez means , in my opinion , the noises of the street through the balcony from which overlooks Letizia , feel the warmth of the light on the building that stands in front of her and - at the same time - the coolness and the musty smell coming from his dark room , smell the malt from the glass of Whiskey at Las Brujas II , and compare it with any scents of the room where you will find the customer ( the tables behind him are empty , the atmosphere is quite dark : that man is only when you turn the cigar ? 'll be closing the location because it is late at night - and then it smells like smoke and sweat of customers - or has recently opened and then still smells of detergent floors? ) , not to mention that we can feel the silkiness of her dress , the texture of his long fingers and the cool, damp condensation which created the ice outside of the glass. The " boundary " represented in the paintings of Fabian Perez , performs inexorably to one of two aesthetic functions : wrap in a full-bodied the "center" of the picture, or bring out the main subject out of context. They are games of depth, visual and psychological , because most scholars who made studies of projections and proportions , are the daughters of his own aesthetic attentions of a director of photography , research balance that inevitably flow into the less rational side of the graphical representation , and touch significantly and in an instant the human soul artist in the implementation phase , and the observer at the stage of fruition. SOME MENTION THE ARTIST Fabian Perez brush under the jump flamenco woman, warm and imaginative, rebellious, such as dark a burning flame, irresistible. Fabian Perez, 1967 was born on November 2, Buenos Aires, Argentina. Junior Fabian hooked on martial arts and painting, karate training and self-discipline of his character, but also to make his style stained with oriental elements.
Flamenco is a Spanish art form with roots deep in Andalusia, Spain's southern region. There are many theories as to how this folk dance evolved, the details are lost in history. Even the origin of its name is elusive. Some attribute it to the early 1500’s and the Flemish courtiers during the reign of Spain's Charles V. Their bright clothing inspired the names given things garish or conspicuous, such as flamingos and flamenco.
Flamenco can be said to be Spanish music and a dance typical of the gypsies or Gitanos. Flamenco dancing is characterized by colorful costumes, intense and erotic movements, stamping of the feet and clapping of the hands. Its execution is brilliant, noisy and passionate. Like American jazz, Flamenco dancing involves improvisation; it's the dancers spontaneous expression of the movement’s emotions. The Spanish call it duende. The word means goblin or fairy. To the flamenco dancer it signifies an inner force that fuels an inspired performance. A dancer with duende goes beyond technical mastery to vent his or her feelings, achieving a powerful, compelling dance. As an observer, you don't really see Flamenco. You feel it. Flamenco is a fundamental part of the culture of the south of Spain, with its roots in the gypsy community. It is divided into cante (the song), baile (the dance) and guitarra (guitar). The gypsies were the nomades, believed to have their origin in Northern India and they were accustomed to making their own version of local music. Music is, and always has been, an important part of their celebrations and their everyday life. Flamenco was used as a synonym for the Andalusian gypsy in the 18th century. They brought with it an emotional intensity, sentimentality and tragedy. The first flamenco dance schools appeared between 1765 and 1860, establishing a firm position in the ballrooms. During its Golden age (1869-1910), Flamenco was developed in the numerous cafs cantantes (musical cafes). Flamenco dance achieved its climax and was the major attraction of the cafes cantantes. Guitar players who accompanied the dancers became tremendously popular with the ever-increasing audience. From 1915, Flamenco shows were organized and performed all over the world. In 1922 the popularity began to dwindle. A Flamenco Renaissance started in 1955. Outstanding dancers and soloists from the small tablaos, successors to the early cafes cantantes, made their way to the great theaters and concert houses. Guitar players acquired great reputations with their mastery of the music and their guitars. Flamenco dance is to be compared to the dances of the Orient. The elegant gestures of the female dancers resemble those of Oriental dancers, only they are more forcible. The dancers use of castanets and castanuelas can be compared to the Oriental finger cymbals. The ladies wear long dresses with voluminous skirts, sometimes used to emphasize arm movements. Handclapping or percussion, as well as song and guitar usually accompany the dancer. There is no doubt that you will be seeing many exciting Flamenco paintings throughout the career of Fabian Perez, painting what he feels from his heart about this extraordinary blend of music, dance and passion.the paintings is by here. |
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July 2014
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