His work finds its strength in his unique technique and use of strong color. He often sets the outline of everyday objects over layers of color, building up the material using Oil bar and paint.
Patterns, forms, fish,gardens to landscapes are some of the the many subjects in his work. Currently living and working in Brussels Belgium and through his travels throughout Europe he gathers new ideas and images for his paintings.
The composition often breaks down into an imaginary world of outlines and colorful backgrounds creating depth and movement.” His representation emphasizes the beauty and perhaps overlooked context of our natural surroundings.
He works primarily with oil bar, and oil paint on linen and board. Gordon's work brings with it a sense of exploration, an interpretation of our surroundings from his point of view, filled with color and a sense of joy.
“It is often just the simple form that can have a great impact and become very important in my work.”
Ile de Ré
Jean-Francois Debongnie, born in Belgium, 1968.
A native of Brussels, has been resident in Singapore since 1989. A self-taught artist, Jean-Francois favours large canvasses on which he explores the themes that inspire him in series such as "Red flowers", "Summer", "Dancing in the wind", "Landscape - China".
In these series Debongnie brings to life flowers - both as iconographic floral signatures which capture the essential qualities of a flower rather than strict botanical representations, and as part of a landscape in fields growing wild amidst ripening grain. Their overall impression is one of movement: wind-blown fields beneath swirling skies of monestial blue. In these series Debongnie favours a palette of late summer hues: ochres and Naples yellow, raw umber and burnt sienna.
The use of Chinese ink adds a dramatic fluidity to all his works. In the Summer series, perhaps the most atmospheric of his paintings, a horizon draws the eye beyond the ripe field to the turbulent stormy skies overhead, and the hint of an impending storm. In another ongoing series - "White Flowers" and "Chinese Landscape", Debongnie has chosen a more muted palette of greys, chalk, cream which both blend and contrast beautifully with the Chinese ink. These predominantly monochromatic works, often verging on the abstract, explore a variety of themes and landscapes.
Mark Hopkins, an American artist, born 1965.
Mark journey in the visual arts started with a strong desire to use materials to create a textural mosaic that breaks from flat painting. I build with wood and use collage to adorn three dimensional pieces. The 3-D quality of the work offers liveliness to the surface which changes in different lighting and moves as you cross the room exposing edges and shadows. Inspiration comes first with preliminary drawings, done in quick moments of inspiration. Mark then fuse together these structured plans and compositions, with the chaos of
wonderful artistic creation. Getting this inspiration on a daily basis has ended with a varied array of works to show. his use of wood, fibrous materials, acrylic and oil paints to creating objects and still lives feels primal.
In some of the work, loose symbolic forms, leaves the works open to the individual’s imagination. In other pieces he plays with the perception of movement and action. These fantasies of colors and forms depict everyday objects as animated and charged comes from a strong influence in native American an African art. Mark enjoy the expressive range of colors and folksy use of material. A goal of his would be to create work as timeless as cave paintings. In that his constructions are objects that are the beginnings of stories. A narrative that begins with the artist convey thru the art and ends with the viewer.
Lise Gonthier, Born in France in 1981.
Lise Gonthier discovered glass blowing in a studio in the Czech Republic after her studies in paintings at the 'Beaux Arts' in Besançon. She was trained at CERFAV (European centre of research and studies for glass art). Following different courses in France and in Europe, she opens her studio in the South of France in 2006.
The artist uses glass as a pictorial medium by playing on the smooth or 'sablé' texture, the transparency and the opaqueness of the glass. She creates her own technique from the foundation of glass blowing to arrive at 2 dimensions. She experiments with different technical means in order to find melted, layered, tints that resembles a painting.
Her works start from a small cell to speak of the rapport of the other, of onself, of our emotions. The cells are made bigger, zoom in, and go through the microscope then enveloped, enclosed in a layer of thick glass. She finds graphic and visual game by playing on the composition, framing and repetition that in turn transport us in a suspended time space, fossilized in the glass.
Mélanie Bourget, born in 1973, is a French contemporary artist working in Nantes, France. Her work focuses on the human being. She creates figurative sculptures in a contemporary yet a little offbeat style, oscillating between realism and fantasy. Then she subjects them to the raku technique.
Big busts of women with crazy hairstyles, mysterious and dreamy little characters are in a few words the poetic and fragile characters that live in her world.
These creatures are alive; they transmit deep and mixed feelings. And through the cracks of glaze we can see with accuracy the human soul…
Thomas Van Gindertael
Van Gindertael's painting embody both the abstract and the figurative, with much of his work lying somewhere between the two. Although one may be tempted to compare his works with those of Dubuffet, or attempt a connection with the Abstract Expressionists of the 1940's and early 50's - among them Jackson Pollock and Paul Klee, to reduce Van Gindertael's art to the confines of this particular movement or that, is to do injustice to the richness, diverseness and originality of his oeuvre.
The principle technique that Van Gindertael employs has some affinities with the graffito work of Jean Dubuffet, whereby the artist etches through a top layer of paint to reveal the underlying colour beneath, thus bringing to life the canvas, through texture and form, light and shade. To really appreciate Van Gindertael's works one has to look into, not merely at, the paintings, but to look at it again and again. From what at first glance appears as a random assembly of etched lines and squiggles, one begins to discern figures on the beach, more often reclining, arms and legs in motion, birds, animals, and the one definitive form - the letters of Van Gindertael, in quartered syllables, which are always an integral part of the painting. Is what one sees really there or simply a product of one's own imagination?