Andreas Tomblin is pleased to announce that four of his paintings that were entered in the 29th Chelsea International Fine Art Competition have been selected to be shown at the 29th Chelsea International Fine Art Exhibition in New York at the Agora Gallery.
The Chelsea International Fine Art Competition Exhibition presents the work of 33 International artists from around the world who were selected for this exhibit by the juror of the contest, critic, writer and curator Mr. Carlo McCormick.
Seizing control with an expressive and lively abstraction of colour and mark, Andreas Tomblin’s expansive square format infuses his dynamic paintings with a powerful presence. Juxtaposing the familiar and the unknown depths of the mind, Tomblin builds his works in acrylic paints on canvas with an active, exploratory mark of broad sweeping texture, meandering line, and flat solidity.
Tomblin explains. “Music was one avenue of exploration I wanted to examine in my work, to try and decode the language of music and interpret it into a visual language was something that has interested me for some time now.
Miles Davis is an artist I admire and respect. He changed the face of Jazz music 4 or 5 times dragging it kicking and screaming in different directions always offering a fresh perspective to the medium and its listeners. “Bitches Brew” is one of those albums that really challenge you as a listener; it takes you on a journey that has lots of twists and turns, a journey that is never the same each time you listen, a journey of individual multi faceted parts and layers that unfold to create a whole experience. I saw “Bitches Brew” as the perfect stimulant for my work, a catalyst that would not only challenge me as an artist but the audience of my work also. “Bitches Brew”, communicates and relates to not only the point in history it was conceived but it communicates an energy that is relevant in today’s society.
The album is a complex collection of musical compositions assembled by Miles Davis and producer Teo Macero through editing. The result sounds very much like an unplanned jamming session, a raw performance of improvisation, and to some extent it is, however, as much improvisation was used in the editing room as it was in the recording studio. The music demands close scrutiny in order to fully interpret it visually but it was important for me to express through the body of work the same attributes displayed in the recording. To achieve this, the final visual outcome was not considered in the overall process of creating the work.
The creation of the work had to take the form of an improvised performance with Miles Davis as art director. I responded to the music, and sounds, and was open to whatever direction it took me in. The outcome had to be spontaneous and stay true to the music.
There are a lot of musicians that played on “Bitches Brew” who have all become legends within the field of Jazz. However, I have concentrated on the ones who the major solos can be attributed to with the addition of producer Teo Macero.
The portraits (three of which were selected and will be part of the exhibition in New York) were approached in a slightly different way, the multi layers of sound that make up the musical compositions were broken down by ear so that only one instrument that related to a specific musician was heard and then the same philosophy that was applied to individual tracks was applied to that one instrument. The personality, its placement within the musical composition, its range of sounds, rhythm, mood, and the space between the sounds all contributed to form the visual portraits.
I believe that the work is autonomous in its own right as far as the esthetic quality of the work is concerned but the messages that the work is trying to communicate can only fully become understood or appreciated when viewed while listening to the music. Only then will the response that was intended manifest itself.”
Born in England and of British and Greek-Cypriot descent, Tomblin now lives in Nicosia, Cyprus. Also a noted illustrator and university lecturer, his art has received international exposure in exhibitions and in public and private collections worldwide.
Invitation for the NY exhibition:
http://www.agora-gallery.com/Invite/Andreas_Tomblin.aspx
Andreas Tomblin’s paintings can be viewed at the AGORA GALLERY website:
http://www.agora-gallery.com/artistpage/Andreas_Tomblin.aspx
The Chelsea International Fine Art Competition Exhibition presents the work of 33 International artists from around the world who were selected for this exhibit by the juror of the contest, critic, writer and curator Mr. Carlo McCormick.
Seizing control with an expressive and lively abstraction of colour and mark, Andreas Tomblin’s expansive square format infuses his dynamic paintings with a powerful presence. Juxtaposing the familiar and the unknown depths of the mind, Tomblin builds his works in acrylic paints on canvas with an active, exploratory mark of broad sweeping texture, meandering line, and flat solidity.
Tomblin explains. “Music was one avenue of exploration I wanted to examine in my work, to try and decode the language of music and interpret it into a visual language was something that has interested me for some time now.
Miles Davis is an artist I admire and respect. He changed the face of Jazz music 4 or 5 times dragging it kicking and screaming in different directions always offering a fresh perspective to the medium and its listeners. “Bitches Brew” is one of those albums that really challenge you as a listener; it takes you on a journey that has lots of twists and turns, a journey that is never the same each time you listen, a journey of individual multi faceted parts and layers that unfold to create a whole experience. I saw “Bitches Brew” as the perfect stimulant for my work, a catalyst that would not only challenge me as an artist but the audience of my work also. “Bitches Brew”, communicates and relates to not only the point in history it was conceived but it communicates an energy that is relevant in today’s society.
The album is a complex collection of musical compositions assembled by Miles Davis and producer Teo Macero through editing. The result sounds very much like an unplanned jamming session, a raw performance of improvisation, and to some extent it is, however, as much improvisation was used in the editing room as it was in the recording studio. The music demands close scrutiny in order to fully interpret it visually but it was important for me to express through the body of work the same attributes displayed in the recording. To achieve this, the final visual outcome was not considered in the overall process of creating the work.
The creation of the work had to take the form of an improvised performance with Miles Davis as art director. I responded to the music, and sounds, and was open to whatever direction it took me in. The outcome had to be spontaneous and stay true to the music.
There are a lot of musicians that played on “Bitches Brew” who have all become legends within the field of Jazz. However, I have concentrated on the ones who the major solos can be attributed to with the addition of producer Teo Macero.
The portraits (three of which were selected and will be part of the exhibition in New York) were approached in a slightly different way, the multi layers of sound that make up the musical compositions were broken down by ear so that only one instrument that related to a specific musician was heard and then the same philosophy that was applied to individual tracks was applied to that one instrument. The personality, its placement within the musical composition, its range of sounds, rhythm, mood, and the space between the sounds all contributed to form the visual portraits.
I believe that the work is autonomous in its own right as far as the esthetic quality of the work is concerned but the messages that the work is trying to communicate can only fully become understood or appreciated when viewed while listening to the music. Only then will the response that was intended manifest itself.”
Born in England and of British and Greek-Cypriot descent, Tomblin now lives in Nicosia, Cyprus. Also a noted illustrator and university lecturer, his art has received international exposure in exhibitions and in public and private collections worldwide.
Invitation for the NY exhibition:
http://www.agora-gallery.com/Invite/Andreas_Tomblin.aspx
Andreas Tomblin’s paintings can be viewed at the AGORA GALLERY website:
http://www.agora-gallery.com/artistpage/Andreas_Tomblin.aspx
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