http://artworksmagazine.com/2008/05/costel-iarca-textured-innovation-in-abstract-art/ a voice for the arts Sun, 30 Oct 2011 03:16:55 -0400 http://wordpress.org/?v=2.8.4 hourly 1 http://artworksmagazine.com/2008/05/costel-iarca-textured-innovation-in-abstract-art/comment-page-1/#comment-4963 Chris Froelich Mon, 04 Apr 2011 10:31:31 +0000 http://artworksmagazine.com/?p=32#comment-4963 Indeed this was an excellent article. I had the pleasure of interacting with Iarca on several occasions at a gallery of his in Rancho Mirage CA. a few years ago. The man emits an energy that is so positive and kind, and is so engaging without the slightest hint arrogance that so many "artists" carry around it's almost otherworldly. I believe he is quite likely the greatest abstract artist of his generation. A true artistic visionary, Indeed this was an excellent article. I had the pleasure of interacting with Iarca on several occasions at a gallery of his in Rancho Mirage CA. a few years ago. The man emits an energy that is so positive and kind, and is so engaging without the slightest hint arrogance that so many “artists” carry around it’s almost otherworldly. I believe he is quite likely the greatest abstract artist of his generation. A true artistic visionary,

]]> http://artworksmagazine.com/2008/05/costel-iarca-textured-innovation-in-abstract-art/comment-page-1/#comment-4436 Phil Slattery Wed, 28 Jul 2010 22:00:54 +0000 http://artworksmagazine.com/?p=32#comment-4436 Very beautiful and poignant biography. I experiment with abstract art and I think that Mr. Iarca's comments on abstract expressionism just scratch the surface of the subject, but what he says is very true. I would love to hear more from him on abstract expressionism. He is absolutely right that the viewer cannot decipher what precisely the artist had in mind when painting. For that reason, when I paint, I try to develop an overall composition and color strategy that utilizes traditional emotions and feelings associated with colors and shapes to try to stimulate an intellectual and/or emotional connection with the viewer. For a very simple example, if I want to portray anger, I might use a lot or red or other hues associated with fire and anger and sling much of the paint on violently. However, if I want to portray peace I might use deep blue or forest green or both (both of which are associated with tranquil scenes and carefully paint them on with a few, broad horizontal strokes mimicing the roll of the sea or mountains fading into the distance--but without using recognizable shapes, which is much of the challenge to me: establishing an intellectual or emotional connection with the viewing without using recognizable shapes. It is like talking about a dog by only describing him and not using the word "dog" or the name of a breed. Perhaps a better comparison would be to create the same emotions within a viewer that seeing a puppy might, but without using any recognizable shapes that resembled a dog. I digress. All in all, this is a wonderful article. Very beautiful and poignant biography. I experiment with abstract art and I think that Mr. Iarca’s comments on abstract expressionism just scratch the surface of the subject, but what he says is very true. I would love to hear more from him on abstract expressionism. He is absolutely right that the viewer cannot decipher what precisely the artist had in mind when painting. For that reason, when I paint, I try to develop an overall composition and color strategy that utilizes traditional emotions and feelings associated with colors and shapes to try to stimulate an intellectual and/or emotional connection with the viewer. For a very simple example, if I want to portray anger, I might use a lot or red or other hues associated with fire and anger and sling much of the paint on violently. However, if I want to portray peace I might use deep blue or forest green or both (both of which are associated with tranquil scenes and carefully paint them on with a few, broad horizontal strokes mimicing the roll of the sea or mountains fading into the distance–but without using recognizable shapes, which is much of the challenge to me: establishing an intellectual or emotional connection with the viewing without using recognizable shapes. It is like talking about a dog by only describing him and not using the word “dog” or the name of a breed. Perhaps a better comparison would be to create the same emotions within a viewer that seeing a puppy might, but without using any recognizable shapes that resembled a dog. I digress. All in all, this is a wonderful article.

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