We are all the history of our own lives
I am so used to mixing drawing and painting, not following any of the conventional rules. In my paintings, I often continue to draw over layers of colour, and vice versa, there are layers of colour over the drawings, which can sometimes be seen as a trace of the development of the painting.
I would perhaps consider my identity as an artist to be this strong connection between drawing and painting, both assuming a vital role within my works.
I am basically a painter of the human form. When I lived in Carpineta, in the midst of green trees and meadows, I tried to understand what my relationship with nature was, since at the time I was captivated by its charms, without managing to analyze my reaction.
Alberto Sughi on 06.25.07 @ 11:50 AM EST [more..]
An unexpected thing happened on the way to 8,000 hours of making digital art. My left hand demanded to be placed on the disabled list.
I was introduced to Leah Wong nearly in the late 90’s. I was desperate for someone who could teach an illustration techniques class and a friend told me about this young woman who had a painting degree and a computer aided design degree. She had worked as a freelance illustrator for a few years and since her husband was a professor at Ohio State she had some time on her hands. What I found when I met her and looked through her portfolio was so much more than I was told. She was a gifted painter who had studied traditional realism which eventually graduated to pure abstraction. 
What happens when they leave home? Are they well taken care of? Do they end up in the place you think they deserve within their new home? Are they still loved as much by their new owners as when they were first taken from you? What happens to them if their owners break up, where do they go then? These are some questions I’ve been asking myself lately, not because I worry, but because I have been confronted with them in the past couple of months and I’ve been visualising some of the possible scenarios. The experience hasn’t been all that enjoyable.
All my life I have been waiting for “The Quantum Leap.” The Quantum Leap, in my mind, is a tool that would facilitate creating art: somehow, magically, all of the keys to unlocking the door of being able to produce an artwork would come to me in one fabulous leap of consciousness. I would be able to deconstruct landscapes by just looking at them. Portraits would be a snap because the head would become a roadmap for easy tracing. How could I fail when all the visual tools I would ever need would spring forth in a single moment: the Quantum Leap? An epiphany!! All the extraneous information would disappear and only the images I needed would be THERE! I truly bought into those college stories about Michelangelo’s “releasing the image in the stone” or the tales of Monet’s seeing only the lights and darks in an isolated patchwork of configuration.
Buenos Aires’ recent museum exhibit of David LaChapelle’s opulent, ultra-vivid color photographs and music videos marks another milestone in a process rapidly unfolding in the Argentine capital: the validation of Color Photography as a valuable and culturally significant art form. Since my arrival in Buenos Aires three short years ago, I have witnessed this artistic blossoming before my very eyes – Color Photography breaking out of the confining cocoons of photojournalism, commercial advertising, and wedding documentation to brandish its still-wet dazzling iridescent wings and burst into flight as a new radiant art form.
