Uploaded on Dec 5, 2011
Do you miss the experience of painting or drawing you used to enjoy as a child or adolescent? Have you always wanted to try your hand at art but didn't know how to get started? Or do you already create art and want to develop your skills further? Well, these courses are designed to help all the above people.
To see images and reviews, or to read more about Llewellyn's work in his own words, go to http://www.llewellyn.ie
I am a humanist in philosophy and art. My work reacts against over-conceptualism and aims to re-engage the general public in the painted human form and its potential to deliver an emotive visual narrative. I believe my work and its theoretical underpinnings resonate with the concerns voiced by art critic Robert Hughes, namely that the commercialization, or monetization, of art has contributed to the demise of craft, skill and our very relationship to aesthetic beauty. Recovering aesthetic beauty and drawing the viewer to a visceral experience is what I continually aim to achieve.
The sources I work from - found photographs, magazine clippings, film stills, crime scenes, vintage imagery and the live model - follow a humanist tradition in painting. My influences reach much further back, calling on the techniques of Velázquez, Van Dyck and Degas. The works of these artists often rely on no more than six colors yet nevertheless carry vast visual impact.
My appreciation for the painting skills of the past is fused with the aesthetic dislocation of both the figure and the reality found within the works of Francis Bacon, Picasso and Giacometti, and in the films of David Lynch and Andrei Tarkovsky.
With these artists, the depiction of reality itself does not suffice; it must go further. In my case, it is the material - paint - and its ability to erase and reconstitute reality that is the reality. It can be seen in the canon of exaggerated form to attain beauty, used by the Greeks and Romans, and reapplied in Michelangelo's and Ingre's overly voluminous sculptures and paintings. It can also be seen in the primitive masks that shocked the artists of Paris in the 1900's and led to the destruction and internal implosion of the figure in the works of Picasso. Bacon, in response, contributed his own interpretation to this long line of new aesthetic realities.
The transition from standard realism to a new reality takes time, as has been illustrated through the history of past painters. This slow but steady progression is something I am sure of and endeavor to contribute to.
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