The dreamy artist who does not forget Pontevedra
He went to London to exhibit his painting and took the opportunity to exhibit some original photos of the Lérez bridges
It happened in Ferrol. Fernando Viscasillas, today a painter and professor of drawing, settled in Pontevedra for more than two decades. Fernando, in his youthful effervescence, with all his life and illusion ahead, stood before his father, a Mr. engineer of the Bazán, and told him that he wanted to be an artist. He wanted to take advantage of the art that ran through his veins since he was a child – he even composed a book with drawings he made for his classmates and school teachers – and become a drawing teacher. The conversation, as you can imagine, did not end as Fernando expected. And the kid ended up in law school. But, that young man from Ferrol, either knew Ghandi or imitated him by pure chance, but the fact is that he made his resistance peaceful. “I was there for several years enduring, until they realized that it was not my thing, and they let me decide,” he says. Fernando ended up in Tenerife studying Fine Arts. There, the lawyer dreamed by his father died and the aritst was born. Since then, one thing is clear: the kid was not disappointed, because today he is an artist, and a well recognized one, who is quite happy. Fernando passed the race, passed the exams and, in effect, became a drawing teacher in art schools, colleges or institutes. This was how he arrived in Pontevedra, where he settled for good while still teaching in Ourense. Then he got closer and spent years in the CPI of Barrantes (Ribadumia). Fernando was always clear that, beyond his daily work, he was and is a painter. So he dedicated himself and is still dedicated to painting. He immediately took the international leap and his work was traveling to Tokyo, Venice, Paris … And above all to Bologna, since he maintained and maintains a close relationship with this city.
The reason for the bridges
The fact is that this summer, by chance, as always happens with important things, he saw that there was a selection of artists for a unique exhibition in London: Artrooms; a show that took place at the White Hotel House Meliá in which the artists show there work in their own rooms. With over 1,100 applicants and 70 seleted artists, he thad to prepare his London expedition
What did he take with him? Well, logically, his painting. In fact, within it, he chose paintings that constitute a tribute to his great-grandfather, the composer Eduardo Viscasillas, friend of Verdi, author of 200 works and member of the Academy of Fine Arts of Bologna. And he managed to hang the paintings in the hotel room like it was an exhibition hall. «It was a huge job. It seemed Macgyver trying to place the pictures in it, “he remembered yesterday with a smile, even from London.
At the same exhibition, he included a photographic montage that made a bridge between the street and the works of the artists, and that was going to hang in the lobby of the hotel. He did not think twice; He got up one day and went to photograph the bridges of Lérez, from Los Tirantes to As Correntes through O Burgo. Then, he put technique and imagination and made some photomontages that led to London. It could not go better: “The truth is that they attracted a lot of attention, everyone asked me about Pontevedra, they said it looked like a very cosmopolitan city. And I, of course, explained that Pontevedra had been transformed and that it was ideal for walking, to enjoy it … I think I sold it well, “he says with a smile. Fernando will soon return to the land of Lérez. And he will keep releasing “the artist’s poison” that he says he has inside. Now he the father of two grown daughters and, when asked if he also gave them advice when deciding the future, he says: “I always tell them to do what the head asks them to do”. Then, the question falls: does he have the head or the heart? And he replies: «In my case I think they are united. I have my heart in my head … maybe that’s why I’m so clueless. My daughters sometimes ask me if I am here, because I can spend five hours doing nothing and not knowing what is around me, “he says. In his day to day, when he acts as a teacher, he makes a loving revenge to his father, now deceased. Because if his progenitor tried not to be an artist, he tries the opposite with his pupils, and more than one that was not clear about the future ended up aiming at Fine Arts. Although, to be fair, it must be said that Fernando’s father did not die without recognizing his acchivments. He remembers with emotion: “He went to the casino in Ferrol to tell his friends that he was exhibiting and that they gave me the Lorenzo Medici medal. It was very emotional, “the artist says. Years ago he received the medal Lorenzo Medici and his work has long traveled the world.
Viscasillas builds bridges with London
The artist will participate in a collective installation at the Artrooms Fair London with two photographic works of Pontevedra Bridges.
Fernando Viscasillas got up one day in November at seven in the morning to photograph the Pontevedra bridges. “I expected to portray them at dawn, with the first rays of light,” he explains. “It was terribly cold, and it was cloudy, but I worked on the photos and the works came out.” The two works that emerged from that experience, including the bridges of As Correntes, O Burgo and Os Tirantes, can be seen between January 19 and 22 at the Artrooms London fair, which will take place at the Meliã White House.
Fernando Viscasillas, shows his photomontages with Pontevedra bridges, “plus another one with Gondomar bridges”, in the collective installation “Building Bridges”, coordinated by Artrois Group. “Although my production as a creator has been mainly pictorial, photography has always interested me,” explains Viscasillas. “Now a time has come when I feel I want to give it a greater protagonism”
Viscasillas’ hobby began to become more serious when, after two trips to Birmingham, he started portraying the British city. “It is now in full swing, it is going to become one of the most cosmopolitan cities in Europe,” he says. “I made a series of 40 photos and contacted a gallery to expose them”. He says he would like to complete the project by also portraying Leeds and Liverpool.
“Once I was selected to participate in Artrooms London and knew about this collective project, I thought it was the perfect opportunity to also participate in the event with these bridge photomontages from Pontevedra. ”
The german artist Tanja Bürgelin-Arslan, – one of Artrooms Fair London 2018 selected artist -, is well known for her public art. In December 2017, the new building of Sparkasse Willstätt, Germany was opened. The invited guests were raptured with excitement about the individual glass wall design showing the picturesque old town of Willstätt and its half-timbered houses. Regional topics are depicted and the logo colours are incorporated in the design. In this endeavour, she worked together with Planungsbüro für Banken (planning office) Thomas Wunderle. This is already the 12th bank that features her glass wall design.
The artist Tanja Bürgelin-Arslan has also won multiple awards. Her prize designs include the fountain “The Path of Life“ as well as her design of the “Duck Portal roundabout and not least her design of the “Fürth Rathaus“ (town hall Fürth) subway station.
You can see more about Tanja’s work here: http://buergelin-arslan.de/en/works/public-art/#offglas
Photo: Udo Künster
“The Palette Pages is thrilled to introduce the art and interview by Art-Rooms selected artist Simone Rosti
Self taught or art school?
If you could own one work of art what would it be?
An artwork of Maurizio Cattelan, it’s not important which one.
How would you describe your style?
I think to be a “not” photographer in the usual sense of the term, but an artist who uses the photography as a painter uses a brush or as a writer uses the word. Essentially, I think I am a conceptual artist who uses photography.
It was not easy to make others understand my art. Sometimes I have been considered as questionable technical photographer. Sometimes a photographer monothematic …The truth is that I do not care about the result and aesthetics of my work. I simply capture fragments of reality and I emphasize them up to the state of mind where I am. The results are my artworks with their imperfections, their misunderstandings, their incompleteness: our life. I never conceived shooting as a technical exercise where everything was balanced in search of perfection. Simply it was not my purpose. Conversely I found in imperfection and movement the key to my expression.
I think my art is very original, distinctive and identifiable. It is not common among photographers artists who often transit over in many areas with the risk to lose the fil rouge of their thought. I chose to stay in well-defined areas in favor of coherence; maybe in the future I could stop to produce artworks and I will focus on writing…The artist who recycles himself, selling his product as an object of consumption, does not interest me.
I am intrigued by essence and absence. I shoot through rapid movement of scenery: this is the starting point for subtraction, exasperation of contrast and scarification of the image until nothing but essence is left, an intimate and hidden projection of Self, an outstretched hand toward the viewer.”
Read full interview on thepalettepages.com
” Over the next few weeks The Palette Pages will be featuring interviews with artists selected for Artrooms. Set within the elegance and glamour of the Meliá White House, ARTROOMS is an interactive showcase of today’s most thought-provoking, mind-bending and awe-inspiring artists, carefully selected from across the globe by a panel of leading industry experts, art critics and buyers. Selected artists are invited to exhibit for free. This is London’s unique opportunity to come and scout art news and trends from all over the world.
We are delighted to introduce the art of Chris Horner.
Self taught or art school?
My art practice has developed through a continuous programme of learning. This started at a very young age from when I was at state school all the way through to my current status where I am studying for my Masters in Fine Art at the University Creative Arts. This regime of learning only increases your own individual capacity for art learning art practically and contextually.
If you could own one work of art what would it be?
A very challenging question to answer as there are many artworks which I appreciate but if I did have to choose one it would be, Francis Bacon’s Three studies for Figures at the base of a Crucifixion, 1944, Oil and Pastel on Sundeala board. The reason for this choice is number one Bacon has always been my most favorite painter, as for me he is in a class of his own, many artists have tried to capitalize on what he achieved but all have failed. The Crucifixion displays a grotesque horror which not only plays on the mind temporarily, it remains stored in ones mind, this for me is how powerful the piece is. Bacon’s intelligence to construct and narrate images is incredible, forms become represented in space which is both positive and negative, which expresses real emotion, making one read the work in an equal beautiful and sinister stance.
How would you describe your style?
My art practice is quite complex because I work with the subconscious, the process which I have invented is sourced through directions and rules, these carry an element of chance which makes the whole creative journey an unknown experience. I find working like this most interesting and exciting because the work constantly carries a freshness. I find myself as an artist becoming unaware of what is materializing when the work is in process, I include and remove myself all the time. For example I am first included during the selection of materials, then I am removed when the materials collide with one another during the transformation process, but then I am back in the frame, when I investigate this change and shift in surface. I record, document and highlight this conversion through mapping out the reformed surface though an obsessive ritualized action. This requires much patience and can be very challenging as it really is an endurance test. The adventure consistently changing and shifting, not just through the means of surface and material but the thoughts which surround me, this only settles once the process has been completed and all record of data filed. (…)”
Read full interview on thepalettepages.com
“Silence is the sleep that nourishes wisdom. – Francis Bacon”
Silence, a solo exhibition by Artrooms London 2018 selected artist Duncan Stewart, will open to the public tomorrow, from 11am.
The exhibition will run until the 11th of December at Art in the Yard, 38 Huguenot Road, Franschhoek, Western Cape, South Africa.
“We live in a noisy world where it is challenging to hear above the din, and almost impossible to step off the treadmill long enough to discern what path to take.
This exhibition, simply called SILENCE, has become the embodiment of that struggle for me.
Silence is free of talking or the need to think about words and thoughts.
Silence is about being. And about being still.
Silence is the cathedral in our souls, which, if incessantly occupied leaves no room to hear the divine whispers.
As I set about creating work for this show, it was this desperate need to create from a place of stillness and silent listening that led me to explore a range of paintings that at first glance appear monochromatic. I wanted to create visual spaces that were calm, quite and removed from noisy colors and energetic angles.
By exploring subtle shifts of hues and tones I have intentionally ‘bleached’ the noise out, giving the viewer permission to dwell in silence – to search for detail on what at first glance appears to be a subdued canvas… yet ultimately is alive with colour waiting to reward those who push through the veil into the quite resonance of the work.”
For more information e-mail: firstname.lastname@example.org
The painter inspires his last work in Parade Ballet. Composed between 1916 and 1917 by Sergei Diaghilev, is one of the most important works of its kind, among other things, because he managed to gather around him a whole generation of geniuses: Erik Satie, who composed the music , to Jean Cocteau, who was in charge of the script, going through Picasso, who designed figurines and curtains.
“Actually, this project was launched many years ago, when I was studying Fine Arts, but it was not until now that I returned to it”, explains the author. Among the reasons: this year marks the centenary of its premiere in Paris, at the Théâtre du Châtelet.
The fascination that Viscasillas has for Diaghilev’s ballet was what led him to dedicate this series of works to him. “Parade supposes a new point of view, a new concept, that entails a total rupture with the idea that had until the moment on the ballet”, explains. “Modernity is incorporated into dance with it”
The first part of the project is a series of paintings on 2-meter papper. “The second part of the work, to be done, will be a large four-meter canvas “, he adds. “My project starts with a portrait of the ballet characters, following a kind of script that will lead us to a great final battle between the managers by the spectators. With that fight between them, in the style of the pompier and battle paintings of San Romano, by Paolo Ucello, I will close the project “.
“Those self-similar mathematical constructions commonly found throughout nature
are the language that inhabit the translucent stone universe
sculpted by her exceptional chisel
Diana Fernandez is a sculptor whose alabaster structures
offer a translucent and ethereal quality
allowing her sculptures to constantly change
as the viewer’s perspective changes
or as the light moves around the space at different points in the day
Not focused on the material itself
but in its behaviour in relation to light or gravity
Diana is a sculptor of a kind of exponential cubism
and instead of seeing things from several viewpoints
she offers an experience of thousands of fractured perspectives
This act of transformation reshuffles the original image
blurring the boundary between the imaginal world
and the real world of rocks, rivers, and oceans
She assumes the impossible
the challenge of sculpting the unseen
compelled by mystery
especially the mystery of the rock
and the forces that structure everything we know and experience
Her artwork is an invitation to us viewers
to be able to move in and around the fractal world
and change our inner perception as we do so
In the pinnacle of her sculpting etymology
she appropriates the forces of nature
to propel out an important clue for us
to hunt down the secrets of the universe
Are her fractal sculptures the road map to reality?
Do they symbolize a deliberate attempt to explain nature
or do they just happen to exist in the eyes of the beholder?
This is the challenge she excerpts from alabaster
to deliver our life experience with celestial- terrestrial- inner images.”
by british curator Ralph C. Valley on Diana Fernandez’s work, one of Artrooms London 2018 selected artists.
The magical is always around us
How often are we are of it?
Is its place in art or the mundane?
This and many more intriguing notions await you at IMPOLITE CONVERSATION, a new Group Exhibition at UNTITLED 2.0 Gallery that will be running from the 3rd November to the 26th November 2017. Participating artists include HURT, Paul Silas Trapp, Claudia Cilloniz Marchini, Tom Glassman, Duane Megyesi, Allen Smith, Artrooms London 2018 selected artist Bee Bantug, E’ Bender Webb and Paul James Cunningham.
Join the reception evening on Friday, the 3rd November from 5-6pm and discover how you’d explore politics & religion with local artists.
UNTITLED 2.0 Gallery is located on 119 SE 6th St, Grants Pass, OR 97526 and is open from Wednesday to Sunday from 11:30am to 5:30pm.
Image: Time Travelers by Bee Bantug