Nicolas Vionnet

Alexandre Dang

Anne Cecine Surga

Donald Bracken

Ivonne Dippmann

Sergey Sobolev

Switzerland

France

France

USA

Germany

Russia

Vionnet ’ s preferred medium is acrylic on canvas . His chiefly largescale works play with space and expanse . Although almost always realistic , his paintings have more in common with abstract images than real landscapes .

He paints disruptive grey strips across his clouds and allows coloured surfaces to drip down the canvas in accordance with the laws of gravity . Vionnet is fascinated by such irritations : interventions that approach and create a non-hierarchical dialogue with the environment . This dialogue opens up a field of tension , which allows the viewer an intensive glimpse of both these phenomena .

All over the exhibitions in the world , I can see a very universal response from the audience : people mainly smile and start asking " How is this moving ? What does it mean ?" And this is for me the most important : bringing people to smile and to think about important contemporary issues . Although the works bring smile and seem easy , realising them is not just a children ' s game , it is really a lot of work ! I have to conceive a first draft , do some pretesting , address the issues , find solutions , do some further tests , find again solutions , finetune etc … Realising a new work takes some months or sometimes some years . It ' s important to highlight it , as when it is realised , everything seems so easy …

I aim at exploring the values inherent to human nature . I am extremely interested in the question of the definition of the self and how much the social context in which we evolve is responsible in shaping our own image . As a woman artist , I am slightly more focused on defining women ’ s identity . The current consumption society sends out tones of messages to every human , thus influencing how we see ourselves and how we want to define ourselves . I believe there is a psychological triangle between who we really are , what society tells us to be , and the image of ourselves we decide to project onto society . I like to create different levels of interpretation in my works , thus giving keys to the viewer to understand the subject I address without offering one single interpretation of the artwork .

My work explores combinations of painting and sculpture , light and shadow , movement , and earth and other natural materials . The actual process of creation always starts with a specific idea or a particular topic I want to research . Collaboration with the composer is essential prior to implementing the physical elements in the studio . Knowing that I ’ m able to work with original compositions , which are created to help express my ideas . My view of the power of man as ultimately secondary to the power of nature has informed my art from its beginnings . I think of myself as a painter : the gestural movements of my recent kinetic sculptures have strongly influenced the path of my paintings .

My works generally starts from relatively small-scale drawings . A starting point , because these small formats will later encounter a different situation , an exhibition space , a stage or a book . They will transform themselves in order to adapt to a new room .

Nothing remains as it was and if Dippmann uses templates – which were originally used as illustrations for a book – and converts them into large-scale murals combined with colorful yarns

The sculptural art is a precise visual genre . Its shape is its language . The shape has distinct limits , otherwise it is amorphous , shapeless in other words . That ' s why I put my sculptures into concise shape , polish them up to the state of a sign , and get them rid of unwanted details to avoid anything arbitrary . Optimization is the sculpture ' s genesis .

The significance of meaning is put into the significance of form , as if into the box . The significance of meaning gets covered with a shell of the significant form .