REVIEWS - Noa Persan
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Reviews

DREAMS FOR REALISM

If we understand the philosophy not only as knowledge, but as wisdom, It leads us to believe that what you do has to do with what he knows. This is the case of Noa Persán, that through sight lines – call her drawing - done in each work a great creative drive to establish an idyllic encounter with the viewer.

In the minds of Noa are introduced, through their dreams and wisdom, very penetrating radiation acquiring an alliance between reason and emotion causing a magical realism.
Noa Persán lives imagining not only to paint the formal order but a harmony of parts to the whole. His work, in the composition or the distinction of parts, enjoy a sweet and exquisite beauty to diversify serpentine shapes - "lines of grace"- , light and color, that is to say, the parts of his works are sustentantes creation of a universe such as music passages or paragraphs in writing.
The magical and mesmerizing game play Noa leave their mark on the lives of those who contemplate.

Benjamin Santín Carballada Professor of Drawing. Architect creator

Asymmetric rules HARMONIC

Subtle visual metaphors coexist in the canvases of Noa Persán; metaphors that approach a neo-surrealism sui generis. From a technical ubérrimo autodidactismo and iconography, Noa does denote that the original substrate of his work can be find it in Japanese painting. His lyrical fantasy, their dream enclaves, Indeterminate, cold chromaticism and balanced provisions, austere timeless and neutral backgrounds, they sent initially to kakemono, Japanese genre to be arranged vertically. At, contemplative landscapes, flores, birds and human figures are combined conjugated as in the paintings by the artist Lugo.
Share however more direct and recognizable analogies with the Japanese print. The ukiyo-e transported oil. "Pictures of the floating world", transliterating the Japanese language, is the concept behind Ainhoa ​​and results in form and substance. The vacuum source is the origin of meaning here, vaporous totality and beauty, almost mystical. Sakuras, or cherry blossom, vegetaciones estáticas, ictioformes merging with nude female figures, poetic lunar and animals glide simplicity of its forms, which follow the dictates of a solid color drawing and not, forming a sincere elegance decorativismo.
Stopping look, paint a bias zen, materialized in the importance of vacuum, loneliness, or says, around the object represented, gravity and heaviness of the surrounding space, which does not exclude a great evocative wealth. Hence the interest in the detainee gesture, coinciding with the idea instant, and the successful use of the original frames and the distribution of space.
It is this pictorial language that brings out the tradition of Japonesque, from French impressionism to modernism and cubism, Katsuhiko This imperishable influence Hokusai and popular Otsu-e paintings have pumped in Western art and Noa articulates his personal syntax and plastic solidity.

Manuel Marquez Crespo Gallerist and art historian

THE ART OF romancing

Watching from a contemporary artistic image fables of Jean de la Fontaine is a challenge that goes amply airy Noa Persán with this series of oil paintings inspired by this masterpiece of French literature, at the same time, drinks from classical sources from Aesop to Horacio and tradition of oriental tales.

But besides the fable it is also a creative resource which the artist often used. In its previous production it reflects an intense pictorial world of dreamlike landscapes and motives influence of Japanese style, screened by fantasy, with a bold color range, overflowing imaginative evoking the image and the shape surreal features, understanding, como Breton, the importance of freely moving elements of the dream to the world of art.

In his work could apply maximum when the painter Felipe Criado theorized cognitive subconscious over the plastic expression through memory, but it can also be seen a tendency to narrative, a la metáfora o a la polisemia, which refer the viewer to varying interpretations, always imaginative, because their iconic reasons we approach the world of dreams with some recurring elements that give us the keys of those fictional reality where fantasy or dream materializes through his paintings.

The artistic expression of the chosen fables lead to an artistic language that complements image and word by joining two disciplines (literature and art) that take centuries giving hand with some superb results not only in terms illustration.

The promising future of Noa Persán and success of this show no doubt at all, so just stay the epilogue to invite viewers to visit and contemplation.

Aurelia Balseiro Garcia Museology and director of the Museum of Lugo

The gravedigger WORDS

I can not nor should not be stingy with compliments derrocharme in smoothies Noa Persán… that lady miniaturized constraining them mercilessly their surnames after a name is pronounced gasping as do the tents when out of the water. At this juncture I must be honest, Lucid and daring to judge or critically without taking the stick or soap… Let them talk their dreams!!! Noa is not of Persia, and any of Japanese samurai, He has mixed with rare fortune fringe tormented his biography with hieratic spasms ladies and sumptuous oriental beauty. She seeks the utopia between skinny and stunned herons and frogs-frog lurking that are fixed in a night pose under a potbellied moon and poisonous. The Phantom of Liberty among women made huge peddle their dreams of deep-sea fish and flying, enrramadas vegetable frippery that crown their heads between skeptical and insolent. Noa writes painting, and when he grows that frown, grits his teeth and innocent girl laugh, it turns into a wild woman. It is the artist unknowingly and against anyone farthest she intrigues of the viedo-artists or philosophical stunned pasmones doing stunts without Philosopher's Stone. The punk-geisha lady disguises, Tartar Mongols or not with circus bear slippers. Unwittingly she blurs and stays out of the picture. Prudent and bold at the same time has run smack into the newsprint Sniper, but this female lacks its war…. What world! too many rednecks in this fair walking dolls Barriga-Verde as if they invented it before gunpowder Chinese. She knows who he is but still does not know what will be, still it lacks speed up the taste of bile in his mouth and accept the consequences of being an artist between contempt and relentless discipline…Mrs., the artists are ready, and lots, simpletons, foxes and a zorrona…Mrs., plumbing and cabinetry give less trouble and headaches that our beloved profession. Look at you until the cows left to milk better than the dealers and gallery owners… But it is the quality of our “ministry” appear to be stubborn, blind and stubborn, because we know that the road is long and we will never get by shortcuts to Santiago de Compostela.

Paco Pestana Sculptor

The exquisiteness

The delicacy is invariably companion of loneliness. Noa is exquisite, then it is in itself, and she relates her painting. Serenity, selection, sweetness, balance, harmony and beauty and attractiveness summary. Orientalizan oriented productions and filing the wild trasusntos. His motives carry an educational message, intentionally intimate, Always indoors. Here are the details, the symbol, filament, the perfect canon, ratio, the color point, Brightness, keys and riddles. Be quiet, Hear his work from the depth of your eyes…

Jose Maria Nunez Perez Delegado de la A.E.A.T. Lugo and President of the Association Grail

Labyrinth of Passion

Ainhoa ​​dreams of paint and paint. A few days ago in his study room shared, to see the latest work to be presented at its next exhibition. Gone were his "mythical" landscapes from memory taken up by its extreme youth. Landscapes made under the symbolism of an iconography that still sow doubts and questions and surely the author strives to make available to the viewer.
The prints of Caurel, habitability reference to the painter, are issues that were very present in his work, where color is their own geography and drawing reaffirms its idiosyncrasies.
After this previous stage reference, figuration that was protagonist in the symbolism of landscape, tools palette and the artist places us in a new company in its start operating.
The color does not play such a descriptive role, but nevertheless, in these new works it appears what really is the undisputed quality in painting Noa, the drawing. The figure and the portrait, referenced under the "ism" Surreal, all those conjectures residing inside and wants to bring to light, to engage the viewer of those hindrances that keep interfering space.
The tone of his work becomes monochrome and soft; blue, verdes, land, ocher ... a symphony of ranges that make the work, honestly raised, Win in plasticity and beauty.
I travel all the pieces visually and have concluded the dream approach is in each one of them, lawful approach to get at the truth, to make this trip, that imaginary world, dogma of ethics and dignity, where surrealism takes you and makes you share in their dreams and their miseries.
Ainhoa, at last, He dares to enter the maze where his passion for painting leads the way of truth, with the difficulties this entails itinerary. We want to find out.

John M. Guerrero Vazquez Painter

FABULONIRIAS DE NOA PERS

Like La Fontaine was inspired by Boccaccio's Decameron to create ingenious Fables, Noa Persán takes as a source the French to create a series of tables that turn into moralizing scenes evocative for the viewer, full of visual illusions and trompe l'oeil for the mind. The images, strongly articulated through color, They transport us to the world of dreams without forgetting a strong exemplary grounds, in part and sometimes malicious comic. The observation and study of nature is evident in the representation of animals whose bodies we feel could stroke. The author discovers us in the foreground with a clear dominance, silhouetted against neutral backgrounds, granting certain monumentality, that self-portraits. The searching eyes of these beings anthropomorphize stopping the scene, as if "living natures" it were. This contrasts with an atmosphere artificially constructed by an unreal and dyed lighting, generally, by a cold palette, whose support is none other than the drawing.

But the aforementioned neutral backgrounds, Noa on which silhouettes her scenes, they are not flat but rather ethereal, so as to allow the eye of the viewer to concentrate on what, ultimately, she wants to transmit: a vigorous criticism of the political class that subjugates and disadvantage on a whim. Nor should we forget that the analysis of the fables is not complete without the title with which the gloss. Each section heads his personal vision of the selected account, extrapolating its contents to the reality around us and, with great narrative ingenuity, It is the highlight of the pictorial acuteness of his own works.

In this thematic series of oils Noa Persán not abandon one of the constants of his young but solid career: the taste for oriental. The nature is founded on the basis of a fleshy vegetation, profiled with calligraphic precision, connecting with the rigor of the own line world illustration. The Moon is one of its clichés, a source of energy, catalyst of a pagan religion, that rescues through a thin string to the homeless, captive subjects of the incongruity of a rotten system.

This analysis would not end without referring to the thoroughness with which this painter applied the oil technique. Your bill is consistent with large areas of the same color to emphasize their affiliation with the procedures of graphic design. But this resource is interrupted occasionally by areas of thin glazes that animate the pictorial surface aptly contrasting it with other specific areas causing strokes pasted, this way, subtle reliefs that are the counterpoint to the feeling of flatness referred, while counter, with a delicate abstraction dominance of the figurative.

Gema Balado Pumariño Degree in History of Art and responsible for Art and S. L.

SAKURA II

“We are pleased that Ms. Noa PERSIAN has participated in the exhibition “Artists of the Basque Country” in January-February 2008, at Asiatica. The jury awarded him first prize for painting a portrait “Sakura II” which reflects so well the Asian serenity through Western painting.
The jury of Asiatica felt in this young artist an exceptional talent to give a soul to his work. Certainly with more maturity, this artist become famous.

Michel Postel President of the Association of Asiatica

ODE TO THE RAINBOW PRINCESS SPOTTED

Muse rides through a gap filled smile sea, along the path that opens into the waters of his delight horse, so many things that bring joy Suns. Sand castle for a princess stained with the colors of the rainbow, larvae that came into the world between the silks of a storm in the last clear sky, galloping after wrist horizons and wet sand paper. Fallen Kisses, Hills spilled into other realms of lust underhand, stained jewelry, perhaps dishonest boots. Land and sea horses, horse dreams and mysteries, Take her to the star where the flower remedies grows lonely, which invades the blood and travels innocence, drop by drop, vena a vena, beat to beat, to make it a breeze, aroma fiercely humano.

Lomarti Multidisciplinary artist

Mi Secreto
gastroniriaII
valencia espejo

FEMALE FIGURE PERFORMANCE ART CONTEMPORARY FIGURATIVE INTERVENTION Symbolism Surrealism

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