Lately - like you have probably noticed, if you are following my work ( and of course you are! ) I’ve been inspired by the ancient European art. One could say I’m revisiting, with some abstraction, the landscapes, portraits and those dark still life compositions, which were really the thing back in the 18th and the 19th centuries. You know, those glossy varnished paintings with some lemons, grapes, glasses, skulls, books and other symbolic stuff posed on a table, on a bright white cloth, and the contrasting, almost supernatural light falling from somewhere -
And yes indeed, sometimes I do that. I’m just simplifying the still life into a composition of basic forms, light and shadows. And I might, like in this piece, add some movement.
There they are, softly glowing, floating, hovering, kind of transparent, metallic balls, those mysterious luxury objects.
I’ve used all, gold, silver and bronze colors to create the momentary motion, merging together with space and depth; illusion of a shivering movement on the deep, dark and mat background.
The infinite space surrounding the composition is a mix of deep greens, violets and burnt umbra.
Something golden passing by in time. Enchanting, tempting, surreal moment, which you cannot freeze.
I love drawing and painting beautiful faces, sometimes with a dramatic look in the eyes, or with a little twist of decadence. I’m often inspired by the 18th century extravagant portraiture art in Europe. The deep, dark background, all light reflecting on the dignified model in the middle.
I imagine them always with a past, some turn in their lives, that changed everything - and what finally made them as they are today.
They are not anymore young, not very old either; they are emotional, or maybe stable, they are strong, they are in love, desperate, sweet, powerful, weak, hysteric, wicked, gorgeous, calm, crazy, mean, passionate, mysterious, beautiful human beings.
But one thing in common they all have: they have both, the feminine side and masculine side. Sometimes there’s more of the feminine, sometimes more of masculinity - and I may loose some fans here when saying, that it isn’t important to me. For me, the gender of the beauty doesn’t need to be defined. Why should it?
When painting I don’t think if this is going to be more one or the other. Sometimes very masculine eyebrows look good with the feminine lips, for example. Her hair - his cheek bones; his nose - her chin. No matter if it just looks good to me.
Je L’Aimais is one of these portraits.
Let me introduce you:
Pompous (- Mahtaileva - a Finnish word I love. )
There it is, glowing in the dark its warm and mysterious light, like a an strange form of life, landed from outer space in the desert - Ta-DAM! This makes me think to science fiction films, and I see it as something alive, turning around slowly, letting us to observe it.. And then again, someone told me there is definitely an elephant, and someone else saw a huge, mutant cauliflower. Or a white hydrangea. And an atomic bomb, of course.
Most of the time I meet people who see in a n y abstract painting (not just in mine) either a face / human figure - either an animal. And that’s okay - but what makes us try to find always something easily recognizable? Why it’s so important to have a defined point to begin experiencing an artwork?
Pre-historic genetic alert to recognize the danger or a partner?
I’m one of those seeing mostly animals.
Anyway, observing any artwork becomes more enjoyable when one can let go of these subconscious parameters and settings. But that’s not easy, but I’m working on it.
Pompous is also been featured in a Saatchi Art collection inspired by famous artist Cy Twombly. I’m honored.