Joshua Suda again

Joshua Suda - Sleep
oil on panel

In his plays with the ambiguity between painting and photograph Joshua Suda forces here the borders: it's like a torn photo, fixed by a lover who is horrified by the accident; or it's a delicate (?) Memento Mori; who knows? Maybe not even the artist. He leaves all suggestions to float freely.

And it is beautiful, and executed with elegance.


(Principle Gallery)

Again at Principle

First I noticed this splendid portrait: the Static created by Joshua Suda. I liked the idea of suggesting the mix between photo and painting: photo and painting in dialog, or in competition maybe? Photo and painting, each one trying to capture the essential, each one trying to be one step in front of the other. Or each one supporting the other, supplying the other with missing info.

Or the beauty of the model, a special kind of beauty, would that be the reason I like this Static so much?

Joshua Suda - Static
oil on panel

Near the work of Joshua Suda, an image of a Korean city at night. I was already accustomed with the art of Tanaka, and every time when I see his cityscapes, full of night, and full of light, and full of speed, my thought go to Chungking Express, the movie of Wong Kar Wai, cinematographed by Chris Doyle.

Nobuhito Tanaka - Fast Times
oil on canvas

Jeremy Mann comes with the bizarre poetry of the big American city, the strange fascination it offers by its total indifference to us. It's full of life, it doesn't care about life it carries.

Jeremy Mann - Early Morning Downtown
oil on panel

Gregory Gandy offers another view of the city: the same San Francisco, only this time it is captured in a static elegance. The elegance that I noted also at some other Photorealist works.

Gregory Gandy - Top of Nob Hill
oil on panel

(Principle Gallery)

Joshua Suda - Mirroring

Joshua Suda: I strive to invite my audience to seek out the concepts behind my work. Within my paintings I aim to achieve a believable illusion of form by using a polished rendering technique while attempting to maintain subtle surrealist undertones. The observer is then invited to take an active role in uncovering hidden concepts through untraditional composition and unexpected juxtaposition. Utilizing this approach, I believe people can interact on a more personal level with the work and develop a deeper connection into my artistic intent (check out also this web page).


(Principle Gallery)