I. Introduction.
How does satirical art foster knowledge and visual literacy and why should it be taught?
I would like to respond to this question by creating a series of satirical artworks through intrinsic content which I would propagate knowledge about “how to” and “why to,” by implementing critical thoughts on comprehensive humorous ways as an educational endeavor. It will be a journey through which I will be able to teach and at the same time learn about how I perceive and extrapolate knowledge through the lenses of satirical visual commentary. The question I pose, and to which I intend to respond, have a solid base concerning many years of my experience as a practicing artist and caricaturist. My satirical artworks have been published in many different newspapers, journals, magazines, books, catalogues, and advertising publications in many countries. I would like to share the experience I have collected from many years by teaching, which could benefit students who are interested in the art of satirical drawing, and caricature as an educational tool.
Since my early childhood I have been surrounded by satirical art and caricatures, which I had a chance to explore in a massive collection of various reviews, albums, catalogues, and books, which were stored in my uncle’s studio and served him as references for his paintings. I was lucky enough to have easy access to such a great “encyclopedia” of all kinds of satirical art. The satirical imagery stimulated my learning about the world I was about to experience. This constant exposure to visual material created in my mind a desire to become an artist who would be able, as my uncle was, to express his feelings and observations through the visual language of satire and humor. Furthermore, during many of my professional activities such as: caricature animations, participation in many international festivals of caricature and press drawing, I have seen mostly the happy and smiling faces of the many people who were participating in these events with great excitement. It is why I think that satirical art could play an important role in education curricula by teaching students to create an intellectually resourceful and challenging art, which would explore their sense of critical thinking and humoristic regard on a variety of important issues to which our contemporary society is exposed on a daily basis. My professional experiences taught me that many times satirical art is misunderstood because the viewer lacks knowledge about the represented subject. The art of caricature teaches visual literacy like no other form of art does. It needs to be explained here I am discussing satirical art and caricature according to my standards, that narrative can be formed through the means of metaphorical imagery and without any captions present, which could play a role of a leading (meta) narrative. In consequence, my concept of caricature and satirical art excludes any form of drawing where the editorial role is to serve rather as an illustration to the published text instead of standing on its own visual narrative. The combination of text and drawing degrades significantly the artist’s visual story and exposes the limits of his creativity and attaches a label of commerciality to his work. The caricaturist practices a form of visual journalism and his language of communication with the public represents his ability to express his comments through the cognitive symbolism of the creatively composed imagery. In such a way the caricaturist provokes the viewer to active thinking, educative curiosity, and affords the deciphering and reflecting critically on the visual narrative as a form of invitation to an intellectual conversation with the viewer. An image, of which the only purpose is to illustrate the text, belongs to a different category of humoristic expression, which is the illustrated comics and cartooning gags, where all is explained and in consequence the deductive and reasoning faculty of the viewer is limited or non-existent. In such cases the narrative of the image is imposed on the viewer rather than proposed to him/her for cognitive deduction and visual contemplation. It is why most of the important international competitions of caricature and satirical art do not accept drawings with captions from the participants. It is an unfortunate fact that in general the understanding of the art of caricature and satirical drawings and all these important nuances are ignored, and that all forms of humoristic creativity are collected under the one umbrella of caricature and cartooning. So far, to my knowledge, no one has tried to distinguish between these various forms of satirical art. Meanwhile, it is important to do so in order to bring about respect and recognition to this form of artistic creativity, and at the same time to eradicate the generalized stigma of commerciality and lowbrow art that is attached to this form of art by the “fine art” world. The word caricature has a generalized meaning and is a representation of a kind of deformation of reality, not only portraiture, but also other realities represented metaphorically in a satirical way. The caricaturist creates his/her artwork in the same process of cognitive reflection and an aesthetic sensation as any other artist does. The only difference is that he involves a deeper deductive voice and sense of elaborated observation permitting the viewer to see how much the surrounding reality is changed. The criteria of the art of caricature and satire, which I have already described in the text above, belongs theoretically to the category of fine arts as a form of artistic expression. It is an unfortunate fact that most of the theoretical ruminations on the subject of commerciality do not take into consideration the fact that there is no art, which is in one-way or another not commercial. The artist is always expecting either to be paid for his creation or to be supported to practice it by various promoters and organizations, what basically results in the same. At the end of the process in research for artistic sustainability the financial aspect dominating the role is always present and necessary for the art to survive.
The art of caricature and satirical expression has an important advantage over other artistic forms of expression. It is generating knowledge as a form of social pedagogy and it is an important reason for why it needs be taught.
II. Procedure.
Satirical drawing and caricature are omnipresent futures in today’s contemporary reality. The distorted faces of politicians, actors, musicians, sportsmen, and the various characters and situations that make the news serve as a great source of creative inspiration for artists who “speak” and “tell” their stories through the burlesque character of their imagery. The humoristic perception of reality is contained in an imagery that provokes joy and anger. It all depends from which angle the images are looked at. These particular forms of visual communication, of content or discontent, have accompanied societies since the very beginning of humanity.
The satirical perception surrounding our realities has been always present, in one way or another, and documented in various artistic creative forms throughout the ages of our human existence. To support such an argument one needs to look closely at the artifacts, which we have inherited from our ancestors. We can start reviewing this heritage from as early as 30.000 years BC (the oldest artifacts so far) which includes objects such as the statue of the Venus of Willendorf, the caricatured engravings of faces from the caves at Le Marche; the satirical situations depicted on the cave rocks at Lascaux in France, Egyptian wall paintings and engravings, Greek satirical sculptures and pottery paintings, Pompeian caricature graffiti, medieval sculptures on Gothic cathedrals, Renaissance caricatures and satirical paintings, followed by Baroque, Rococo, and all other artistic styles, which basically evolved and nourished creatively one another to the present day. The significant amount of artworks left to us by each epoch could be theorized through the means of the epistemological approach to it and as such can be adopted for educational purposes in the exploration of the art of caricature and satirical perception of the past as well as the present. Reflecting on the amount of visual materials, which are available to us for studies, it seems that the human race has always had the faculty and desire to express their satirical commentary through the means of humoristic exaggerations in regard to their respective realities.
The contemporary art world reduced the art of caricature to a lower category of artistic practice, mostly due to the label of commerciality, which is attached to this extraordinary form of art by a hierarchical attitude within contemporary artistic circles. In such cases the artists who express themselves through the means of satirical artworks “can only say what they have to say, the trouble is not with their work but those who, having eyes see not, and having ears, hear not” (Dewey, 2005, p.108-109). Meanwhile, it is an art form, which is the perfect tool for communication among the arts, and arts based research practices. Satirical art is a tool, which promotes visual literacy by provoking the spectator to think and understand what is presented to them in the form of a visual dialogue. The process of drawing caricature or composing satirical paintings generates all the necessary aspects of arts based research actions such as reflection, interrogation, conversation, deliberation, and debates (Barone & Eisner, 2012, p. 59).
The creation of satirical art consists of an intelligent distortion of reality, which allows the artist to explore the subject through the means of symbolic and elaborated narratives connected to various figurative forms juxtaposed in a comprehensive unity via the process of cognitive observation. Satirical art demands from an artist to possess a wide spectrum of general knowledge, and the ability to know how it can be implemented in the creative process in order to communicate the desired intrinsic narrative. Satirical art is an “art” which “thinks” (Critchley, 2009) and provokes others to think too. “It is the image of thought that guides the creation of concept” (Deleuze, 1995, p. 148), and as such can and should be explored in arts based research practice.

III. Abbreviated Review of Literature.
Arnheim, Rudolf (1974). Art and Visual Perception-a Psychology of the Creative Eye. Los Angeles, CA: University of California Press.
Rudolf Arnheim (1974), in his book, reflects on various issues regarding visual perception and creativity. The author elaborates in his text on various psychological aspects regarding image creation and is trying to explain how an image is conceived and how its content is affecting the viewer’s perception of it. Arnheim theorizes about cognitive concepts of visual imagery by leading the reader through the genealogy of understanding various narrative aspects of an artist’s pictorial mind. He reflects also on the art of caricature as a particular creative endeavor.
Baridon, Laurent, & Guédron, Martial (2009). L’art et l’histoire de la caricature. Paris, France: Éditions Citadelles & Mazenod.
Baridon and Guédron in their publication present an elaborately conducted historical research on the art of caricature. This monumental and indispensable book leads the reader through a massive bank of information about the development of caricature through the history of humanity. The authors concentrate their efforts mostly on French artists and mention only the most well known caricaturists from England, Italy, Spain, and other countries. However, it is an important and very well researched source of information about the origins of caricature and satirical art.
Champfleury- Fleury-Husson, Jules François Felix (1865). Histoire de la caricature antique. Paris, France: Dentu, E. Éditeur-Librarie de la Société des gens de lettres, Palais Royale, Galerie d’Orléans.
Champfleury was one of the first to write an extended and well-researched history on caricature and satirical art. This position of Champfleury is the first of four volumes written by the author on the subject of antic caricature. It is an important source of information about the early, mostly sculptural, satirical art of Assyrians, Egyptians, Greeks, and Romans. Furthermore, Champfleury has collected many different descriptions and theories regarding the art of caricature from various scholars, writers, artists, historians, and philosophers. The other three volumes in this series explore the history of caricature and satirical art during the medieval, renaissance, and baroque periods. The last book covers the history of satirical art development during the first half of the nineteenth century.
Deregowski, J. B. (1984). Distortion in Art-The Eye and the Mind. New York, USA: Routledge Kegan & Paul.
Deregowski in his book explores various forms of “deformations” existing in art in general, including the art of caricature. The author elaborates on the ambiguities found in distorted imagery and their psychological effects on a viewer. The author proposes to the reader a literary voyage through the human minds ability to perceive visually and elaborates on the various artifacts and their pictorial alterations, which can be found by studying the history of art. According to Deregowski, each distorted image emanates with its own philosophy of historic narrative waiting for the viewer’s deductive exploration. Through the deformation of reality each image attracts our cognitive attention towards it.
Gombrich, E. H. & Kris, Ernst (1938). The Principles of Caricature. British Journal of Medical Psychology, 17, 319-42.
Gombrich and Kris, in their essay, review the history of satirical art and caricature in relation to the various epochs of western art development. The article is a section within a much more elaborated historical study on the subject of caricature, which the authors conducted for the purpose to publish their conclusions in a form of a book. Unfortunately, according to the information available, the project was never commercialized. However, the text, which is available, brings an interesting light on the way the art of caricature was practiced through the centuries of artistic development in western society. The authors, review earlier information collected by Champfleury (1865) and Wright (1875) on the subject of caricature and its first appearance as early as in antiquity.
Gombrich, E. H. (1982). The Image and the Eye: Further Studies in the Psychology of Pictorial Representation. New York, USA: Cornell/Phaidon Books. Cornell University Press.
Gombrich explores in his book a variety of concepts and writings about the art of painting and portraiture, including his thoughts on the art of caricature and satirical creativity. The author reflects on the different viewpoints of the visual perceptions, which are available to the viewer’s contemplative mind, through the pictorial representations of the artists’ illusory creative realities. Gombrich proposes to the reader well researched content, which is the perfect tool for the exploration and reflection on the multiple faces of the psychology of artistic creativity through the history of pictorial art.
Klausen, Jytte (2009). The Cartoons That Shook the World. New Haven, USA: Yale University Press.
Klausen investigates in her book the controversy surrounding the Danish cartoons on the twelve caricatures of the Prophet Muhammad. These caricatures were published by a local journal, and in resulted in provoking an incontrollable set of events contrasting two opposite socio-cultural entities. The Danish case shows how important it is to foster knowledge and visual literacy in order to avoid similar conflicts in the future. The book’s content shows how it is important to propagate pictorial liberty through an appropriate education about the visual democracy of the free artistic expression, a freedom that is omnipresent and particular to western culture.
Parton, James (1877). Caricature and Other Comic Art in All Times and Many Lands. New York, USA: Harper & Brothers Publishers.
Parton, in his book, collected multiple data about the art of caricature and satirical production from various cultural regions of the world. Regardless of his intentions, most of the books content focuses mostly on French and English historical developments of satirical art and caricature. It is an interesting collection of different facts, which were earlier researched by Champfleury. However, Parton represents his own perceptive analysis of satirical art and caricature.
Porter, Robert (2009). Chapter 2: Painting. In Deleuze and Guattari: Aesthetics and Politics. Cardiff, England: University of Wales Press.
Porter, in his relatively new book, reflects on Deleuze’s philosophical elaborations concerning the question of what is artistic creativity, what is an idea and how it is developing, especially in the domain of painting. To Deleuze the art of painting provokes in the mind of the viewer a set of visual sensations. The Deleuzeian concept of sensation can be easily adapted to the art of caricature and satirical drawing and painting. These forms of creative activity share the same visual dilemma, which is the psychological impact related to the effects provoked by distorted realities. The Deleuzeian philosophical reflections will play an important inspirational and theoretical role during my Visual Arts-Based Research Project.
Wright, Thomas (1875). A History of Caricature and Grotesque in Literature and Art. London, England: Chatto and Windus, Piccadilly.
Wright’s book represents an English version of Champfeury’s research on the subject of caricature. Wright reflects on satirical art and caricature through the wide spectrum of historical and cultural events. He offers his own historical vision of the development of satirical art and caricature and the book contains a lot of illustrations.
These abbreviated reviews of the literature represent just a fragment of my theoretical resources, which will be used to support my research project.
IV. Conclusions.
Satirical art and the art of caricature play an important role as the social barometer of healthy socio-political and cultural coexistence. It is a sign of a strong society where freedom is not restrained by any dogmatic influences or political demagogies. Furthermore, the art of caricature is an excellent tool to encourage the growth of imagination and promote its creative development through the process of satirical drawing practice. “Humor may encourage a process of education wherein the receiver is given a chance to adjust the distorted image…” “We should therefore look more closely into the humorous parts of the caricature” (Saeverot, 2011, p. 92). To teach how to use satirical art in education opens yet another entry in the process of helping students to learn how to read the visual content and how it could be logically applied to various issues, regarding contemporary society, which could be approached pedagogically by fostering the culture of humor. Through the means of humor we can approach any delicate and controversial issue if we know “how to.” Teaching through visual satire is also educating about the socio-political and culture of “savoir vivre,” which in our case could be rephrased as “savoir penser” and “savoir rire.” Satirical art cultivates open-minded responsible individuals who are conscious of the complexity of various social issues. The art of caricature and satire propagates not only creative knowledge but also democratic literacy. It teaches people to laugh intelligently and to distance themselves from low quality jokes. The issue of quality exists as much in satirical art as in any other artistic creative expression. It is why I think that teaching the art of caricature and satirical art is an intelligent pedagogical approach that will benefit everyone. Furthermore, satirical art and caricature has the ability to explore new horizons of knowledge in Art Education research practice.
V. Bibliography
Arnheim, Rudolf (1974). Art and Visual Perception-a Psychology of the Creative Eye. Los Angeles, CA: University of California Press.
Baridon, Laurent, and Martial Guédron (2006). L’art et l’histoire de la Caricature. Paris,
France: Éditions Citadelles & Mazenod.
Barone, Tom, & Eisner, Elliot W. (2012). Arts Based Research. Los Angeles, CA: Sage.
Boundas, Constantin, V. (Ed.), (1993). Part IV, Chapter 22: Painting and Sensation. In The Deleuze Reader. New York, USA: Columbia University Press.
Champfleury, Jules (1867). Histoire de la caricature Antique. Paris, France: Libraire de la Société des gens de lettres.
Champfleury, Jules (1876). Histoire de la caricature au Moyen Age et sous Renaissance. Paris, France: Libraire de la Société des gens de lettres.
Critchley, Simon (2009). Scenes from a Marriage: Have Art and Theory Drifted Apart?
Retrieved from:
http://www.friezefoundation.org/talks/detail/scenes_from_a_marriage_have_art_and_theory_drifted_apart/
Deleuze, Gilles (1995). Chapter: Life as a Work of Art. In Negotiations, 1972¬–1990. New York, NY: Columbia University Press.
Deleuze, Gilles & Guattari, Félix (1987). A Thousand Plateaus-Capitalism and Schizophrenia. Minneapolis, MN: University of Minnesota Press.
Deregowski, J. B. (1984). Distortion in Art-The Eye and the Mind. New York, USA: Routledge Kegan & Paul.
Desbarats, Peter, and Terry Mosher (1979). The Hecklers. Toronto, Canada: The
Canadian Publishers McClelland and Stewart Limited.
Dewey, John (2005). Art as Experience. New York, NY: Perigee.
Duccini, Hélène (2001, March). La Caricature-deux siècles de dérision salutaire. Historia, 651(3), 46-78.
Ferrance, Eileen (2000). Action Research. Providence, RI: Brown University.
Gombrich, E. H. & Kris, Ernst (1938). The Principles of Caricature. British Journal of Medical Psychology, 17(38), 319-342.
Gombrich, E. H. (1960). Art and Illusion: A Study in the Psychology of Pictorial Representation. New York, USA: Pantheon Books Inc.
Gombrich, E. H. (1982). The Image and the Eye-Further Studies in the Psychology of Pictorial Representation. New York, USA: Cornell/Phaidon Books. Cornell University Press.
Horn, Maurice (Ed.), (1980). The World Encyclopedia of Cartoons. New York, NY: Chelsea House Publishers.
Klausen, Jytte (2009). The Cartoons that Shook the World. New Haven, USA :Yale University Press.
McNiff, Shaun (2008). Chapter 3. Art-Based Research. In Knowles, Gary J. & Ardra L. Cole (Eds.), Handbook of the Arts in Qualitative Research (p. 29). Thousand Oaks, CA: Sage Publications.
McNiff, Jean (2002). Action Research for Professional Development-Concise Advise for New Action Researchers. (3rd ed.). Retrieved from: http://www.jeanmcniff.com/ar-booklet.asp
Parton, James (1877). Caricature and Other Comic Art in All Times and Many Lands. New York, USA: Harper & Brothers Publishers.
Porter, Robert (2009). Chapter 2: Painting. In Deleuze and Guattari: Aesthetics and Politics. Cardiff, England: University of Wales Press.
Saeverot, Herner (2011). Rhetorical Caricature: An Educational Reading of Nabokov’s Treatment of Freud. Phenomenology & Practice, 5(1), 84-99. Retrieved from
http://www.phandpr.org/index.php/pandp/article/view/80
Streicher, Lawrence, H. (1965). David Low and the Sociology of Caricature. Comparative Studies in Society and History, 8(1), 1-23. Retrieved from http://0www.jstor.org.mercury.concordia.ca/stable/177533
Sullivan, Graeme (2010). Art Practice as Research-Inquiry in Visual Arts. Thousand Oaks, CA: SAGE Publications, Inc.
Wright, Thomas (1875). A History of Caricature and Grotesque in Literature and Art. London, England: Chatto and Windus.

Click here to see Caricatures

This collection contains drawings from the series of quickly made sketches of a various subjects. I always have with me a sketchbook, and when possible I sketch what I see around. I use to draw the sanguine and watercolors. On occasion, I use other mediums too. The sketching pads are the traces of time I was able to catch in a visual form during my various displacements and activities. The notebooks pages register the data of my reflections and meditations through the art of drawing. It is a form of a spiritual journey. It is the best way for an artist to relax, because through the act of drawing one is entering a different space, a space of creative thought. When I draw, I concentrate all my senses on what I see. It is an intellectual research for a data from which I compose what I look at. The final artworks represent my personal perception of the reality surrounding me.

Marshall (2007), in her article, “Image as Insight: Visual Images in Practice-Based Research,” cites Gardner’s discourse on spatial intelligence, which perfectly illustrates the various segments of the drawing creation process:
Gardner (1983) states:
Spatial intelligence entails a number of loosely related capacities: the ability to recognize instances of the same element; the ability to transform or recognize a transformation of one element into another; the capacity to conjure up mental imagery and then to transform that imagery; the capacity to produce a graphic likeness of spatial information; and the like. (p. 176).

Graeme Sullivan (2010), in his most recent book “Art Practice as Research: Inquiry in Visual Arts,” contextualized the process of Visual Arts Practice as a field of academic research. Sullivan, in the triangular diagram he created, shows the interdependent actions, which take place during the Visual Arts Practice, and which reflects also the cognitive character of drawing creation. He depicted a profile of four essential activities, which constantly interact within each other’s territories of collected data in order to complete the visual outcome of the conducted research. The Visual Arts Practice (Creating) interacts with Interpretive Discourse (Reflecting), Empiricist Inquiry (Designing), and Critical Process (Critiquing) in order to summarize the entire operation of artwork construction. The specified elements do not reflect the linear accumulation of knowledge, but they interact within themselves without an order. What I mean by this is that the triangular sections do not always interact with the centrally situated triangle signifying the process of Creating. They also interact between themselves. The outcome of all these cognitive interdependent interactions results in the conclusive artifact, which in this case is the sketching. “In pursuing these kinds of quests artists cast their minds to issues, ideas, and experiences that reveal imaginative insights, yet the process resists capture by the freeze-frame of clinical analysis” (Sullivan, 2010, p. 152). The experiment of sketching in direct with “scientific” consciousness permits the realization that “knowledge is gained through the speculation, accumulation, analysis, and confirmation of facts, and the utility of empirical approaches,” which “remains the cornerstone of scientific inquiry” (Sullivan, 2010, p. 36).

Click here to see the album Live Studies 2012

The Deleuzeian rhizome theory states that the knowledge about the world is acquired freely and independently through a process of multiple non-hierarchical structures of representation and interpretation, without any particular beginning or end point. It means that an idea should not have a “tap root” but “rhizome roots,” which offers a multitude of “in” and “out” possibilities. The Deluzeian concept confronts the arborescent model of thought based on chronological linear and vertical links of ideas and percepts. Deleuze explains in a very concise manner the difference between the dominant western thought idea of “the tree” and his rhizome concept by stating: “the tree imposes the verb ‘to be,’ but the fabric of rhizome is the conjunction ‘and…and…and…’” (Deleuze, 1987, p. 25). The flexibility of his concept gives to the artist an unlimited space for creative explorations. It is an idea, which in a very particular way responds to the artists’ needs and their creative venues in innovative research. The rhizome concept permits the artist an unlimited creative liberty, and as such reflects perfectly the contemporary diversity of artistic endeavors. Rhizome theory has revolutionized the way an idea might be conceived and propagated into a variety of different concepts and sensations without being restricted to any particular rules, which could restrain such liberty. However, the most salient characteristic is that the satirical art and caricature can have its own place of artistic expression in Visual Arts Practice Research inspired by Deleuzeian philosophical thought.

Deluze elucidates how art idiosyncratically generates a form of thought and knowledge that is able to contribute to an understanding of the human condition  –  a form of thought and knowledge that is very different from the discursive modalities philosophy deploys. Because of that dynamic of being different, the visual production of ideas can never be comprised in static systems of signification or well-defined frameworks of interpretation (p. 4).

The question in my artistic endeavor was: how to reflect the process of the visual cognitive interaction between the artist’s composite of creative forms, which are suggested to the spectator as an aesthetic language of communication? The application of reversed binocular optics as a filter distorting the realistic perception of the proposed surfaces permits the spectator to experience the artwork’s intrinsic content, while sharing takes place in the closed intimate space. The pyramidal white box separate the chosen creative space from the external world allowing to the spectator to participate in the process of reception of the aesthetic impulses, which provokes the spectator’s aesthetic responses. At the same time the separation of the artwork’s interior space from external distraction and interference of various structural and physical forms, permits the viewer to focus on the process of assessing and explore better the encoded symbolism of the artistic composition, which is suggested to him/her.

The title of my artwork Camera Bianca: Relational Me symbolically consists of two parts, which are united together by the concept of visual perception of three dimensionality of the gallery space. In this particular artwork I am interested in creation of dimensionality of objects through various optical means. The first part of the title, Camera Bianca, reflects as a form the creative womb, which separates the imaginary creative world of artistic fantasy in opposition to the Camera Obscura principles to reflect reality. The Camera Obscura mirrors the reality and the imaginary liberty is not possible. The Camera Bianca is not about recreation of reality, but about its creative encoded deformation. The proposal to the spectator is to explore the creative composition through reversed optics using binoculars symbolizes how the viewer perceives the artwork. The artist’s imaginative world of suggested aesthetics to the receptive spectator is always distorted by the cognitive incompatibilities. The binoculars principal role is to approach the desired area or the objects of our interest in order to let us see closer and enjoy somehow the normally unreachable distanced zones without the necessity of displacement. It also distorts the real perception of things, but does not create dimensions. However, when used in reverse it creates an artificial sensation of three-dimensional space. In consequence any composition of line and form, when looked through the reversed binoculars, cause a kind of faulty visual dimensionality.

The second part of the title, Relational Me, is conceived using a coded symbolism of compositional elements, which reflects on my personal voyage through the process of my earthy existence. I chose for this purpose a fragment of my most reoccurring contrasted thoughts united by the territory of the canvas I assigned to them. The figurative forms are placed in a disruptive way in order to create the impression of fragmentary thoughts interacting with each other and through the visual content create narrative context to explore. I was looking for a way to enhance the dimensionality of my artwork through narrative, which was conceived on the raw linen of canvas. I found out that when using white on the linen natural surface a contrast was created between these two colors giving an impression of three-dimensional space. The application of the reversed binocular optics allowed an additional spectrum to the artwork’s narrative and provokes the spectator’s visual senses to perceive the enhanced dimensional aesthetics.

To conclude, I found this experience motivating for further explorations using the dimensionality of sculptural and flat surfaces, which could be enhanced with the use of various optic configurations and different contrasted materials. This kind of experimental practice engages the spectator in relational communication with the artist’s creative narratives projected and shared in the intimacy of a specified and enclosed space for the visual experience, which is intentionally deformed through the optical means in order to reflect the cognitive aspects of the process of seeing and perceiving. Following the Rancière’s ideas, which reflect on the question of dominance and subjection during the process of the viewer’s exposure to the creative activity of artistic expression, in the case of Camera Bianca: Relational Me the viewer and the artist balance harmoniously aspects concerning subjection.

The main purpose of me sketching in direct is to study the innumerable variety of forms and color nuances in order to prepare a source of information which I will explore even further when working on large size canvas. These sketches are for me a kind of coded notebook for the future paintings.

Click here to see images in the Portfolio

I chose to conclude my display by my own interpretation of the Albrecht Dürer’s artwork, which illustrates The Revelation of St John’s number 4, The Four Riders of the Apocalypse. The painting summarizes my artistic intervention into the viewer’s cognitive space by exposing her/him to a provocative depiction of social interrelations, which are viewed by me as an apocalyptic process of learning about ourselves. My decision to disregard the aesthetic canons of artistic display and take the risk to experience an aesthetic disorder permitted me to cross the border of my creative limitations and open space for learning the freedom of artistic gesture. I sincerely believe that by doing so I provoked questions and disagreements, and if it did my artistic experience has been successfully completed.

I would like to conclude my statement with a quote from John Dewey’s book Art as Experience (2005), “Experience is the result, the sign, and the reward of that interaction of organism and environment which, when it is carried to the full, is a transformation of interaction into participation and communication.”

Click here to see the artwork.

“To write is perhaps … to select the whispering voices, to gather the tribes and secret idioms from which I extract something I call myself.” (Jarrett, 2007, p. 79)

To paint is perhaps … to select the whispering colors, to gather the silhouettes of thoughts and secret idioms from which I extract something I call myself.

Following the path of appropriated and partially modified quote from Deleuze and Guattari I am researching to … extract something I call myself. Influenced by my present studies at Concordia University I am tempted to exteriorize in visual form the creative process of my studying and researching for my own character of creative expression. Through the metaphoric visual language of color and line I explore and apprehend the process of my learning. To contextualize the flow of my thoughts and my imaginary visions I am inspired by the panoramic views of the city from the windows of Concordia University SGW building. When walking through the corridors and different floors one can feel the air filled with a mass of creative thoughts bouncing against each other and looking for an outlet to materialize their weightless bodies of unspecified shapes visible only to the artistic sensibility. All this amalgam of emotions influences the explorative energies of my perception of surrounding me cognitive reality of the university space. Gazing through the university windows I absorb the open space of structures, lines, and colors as creative nourishment for my artistic quest. The only thing separating me from this abyss of colorful energies is the materiality of the glass and the window framing. The parapet marks the border of my reach as it did in the Renaissance sacred paintings where the divine was separated from the mortal. However, in my case I am switching the sides and placing the divine in the university interior space as a cohesive representation of its intellectual force, which is guiding my creative impulses.

Taking in consideration the fact that the artist statement is a common practice considered by many as essential to any aspiring artist in his or hers artistic quest for recognition on the institutionalized artistic market. Furthermore, in general conception the artist statement proofs the artist’s cognitive maturity. However, this practice exists as a controversial act to some artists and I am one of them. Not everything needs to be explained. Making art is a creative process, which sometimes the artist himself cannot explain and pretending that we always know what we do might seem as a little exaggeration. I asked myself many times a question: why do I have to explain what I paint? The only reasonable answer I have to it is that some viewers feel more comfortable to know what the artist want to express through his artwork, especially when it is an “abstract” representation. In general what happens during the artist’s creative process is difficult to explain and I am sure that many of us just follow the mysterious energies of electrons floating in the labyrinth of our brain attracting each other or pushing off in the process of electric discharge, which moves the hand with the brush or any other medium leaving on the surface scars of this electro-volcanic process. The truth is that artist statement facilitates the intellectual reception of the creative visual content. However, the figurative painting is mostly self-explanatory creation and over intellectualization of its content is to me unnecessary activity.

In my recent series of paintings I want to show how in my perception the artist statement interacts with the kind of art I do. Does it help to understand better what I paint or it acts rather like a distracting element. To me, the artist statement is like voile. Personally, I agree with Archibald MacLeish’s phrase “should not mean but be” and so I prefer to look at the face without the voile so I can read its psychological cartography, but it is my way to see the issue at this time.

Click here to see the artwork.

The Gallery “Europe 2010″ contain the collection of sketches executed during my recent voyage in Italy, France and Poland. The drawings reflect my personal perception of places I had the pleasure to see and enjoy in a way an artist does.

Click here to see the artwork.

Click here to see the artwork in Portfolio.

I would like to invite everyone to visit my newly opened Art Gallery.

You are welcome to have a walk through some of my chosen artwork.

The gallery will be regularly up-dated and the content might change accordingly.

Have a great digital stroll!

Bienvenue a ma galerie d’art.

Je vous invite de la visiter et découvrir mes dessins et mes tableaux.

Le contenu de la galerie sera régulièrement actualisé.

Je vous souhaite une belle promenade virtuelle !

To visit the Art Gallery click here.

The Contemporary Venice is hosting the most important Biennial of Contemporary Art in the World today. The beauty of this city is irresistible to anyone, especially to all creative souls.

In the series of paintings La Serenissima, inspired by my first visit in Venice, I want to visualize the traces of the historic time imprisoned in the surface of the city facades. I want to express the poetic ambiance of thy city-fragmented surfaces adding to its exterior the fragmentary images of my subconscious memories. I am looking to express the sublime allegory of Venetian heritage and try to combine the Venetian historic past with its Contemporary realities. It is for me the search for the temps perdu, which I want to visualize in Contemporary way in my recent artwork.

To see the selection of La Serenissima paintings click here.

Original artwork is available for sell in my Art Gallery