Menu
The New Contemporary Art Magazine

Salusitano Paints Large Detailed Portraits of Gazing Figures

Spanish artist “Salusitano” paints large-scale mixed media portraits of gazing figures. His works are precisely detailed, oftentimes with 60 layers of paint or more. Appearing almost hyper-realistic, up-close they reveal tiny cross hatched marks made using colored pencil, conte crayon, and oil paint by the tip of the brush. The artist likens this technique to carving out the facial expressions of his protagonists; young girls, boys and women of various cultures.

Spanish artist “Salusitano” paints large-scale mixed media portraits of gazing figures. His works are precisely detailed, oftentimes with 60 layers of paint or more. Appearing almost hyper-realistic, up-close they reveal tiny cross hatched marks made using colored pencil, conte crayon, and oil paint by the tip of the brush. The artist likens this technique to carving out the facial expressions of his protagonists; young girls, boys and women of various cultures. In Salusitano’s painting “Elisa Columpio”, a young girl on a swing looks back over her shoulder, recalling the little Dutch girl of Johannes Vermeer’s “Girl with a Pearl Earring”. The piece is an example of Salusitano’s fascination with the emotional and conceptual implications of color. In one version, she is set against an ominous black background, as if about to swing into the unknown or possibly, her death. In another, she is set against a jarring bright red background, a more positive color, and swinging towards a happier future. Most portraits, like Elisa, feature a combination of influences, particularly from China and Japan, as seen in the traditional clothing and hair accessories that his subjects wear. Others wear head to toe black or funeral attire, implying a wisdom and experience beyond their age. An archival solo exhibition of Salusitano’s works, including his most recent, is now on view at Jorge Heitsch Gallery in Munich, Germany through October 31st, 2015.

Meta
Share
Facebook
Reddit
Pinterest
Email
Related Articles
Tomas Clayton takes us back 100 years with his nostalgic portraits set in the World War I era. Re-imagining documentary photographs and artifacts from this time period, Clayton creates enigmatic, highly stylized images that zero in on various characters — soldiers, acrobats, actors, and average men and women alike. Influenced by the aesthetics of the 1970s, elements of this period get muddled with his early 20th century imagery, as well. As a result, his oil on masonite works at times become dislodged from a specific time and place, inviting viewers to create narratives of their own.
Chinese born, California based artist Vincent Xeus paints his portraits with a sensitive treatment of light and shading to an almost haunting effect. Though his work shares elements of 17th-century Dutch masters and contemporaries like Gerhard Richter, Odd Nerdrum, Francis Bacon, and Antonio López Garcia, Xeus has created an entirely new approach. Previously featured on our blog, he has said that his intent is to reveal that which is beneath what we think we see. This involves smudging the paint until the subject's face is hardly recognizable or appears blurry and more impressionistic. His latest body of work, "Hue is Full / A Thousand Faces", which opened Friday at Gallery 1261 in Colorado, takes his unconventional style to a new level where he wipes and scrapes away at his subjects.
Haris Purmono's hyperrealistic portraits illustrate resilience. The Indonesian artist began his practice in the 1970s under Suharto's military government and the battle-scarred faces of his civilian subjects symbolize the country's difficult past. Purmono's sitters are everyday individuals whose faces the artist embellishes with bandages and dragon tattoos. Despite their different ethnicities and social classes, these symbols unite the subjects of his work and hint at their shared cultural history.
Setting soft and supple nudes against graphic patterns and textures, Brooklyn-based painter Sharon Sprung utilizes the tension between abstraction and realism to appease her own inner dichotomies and create art that expresses emotional complexities. But unlike many artists who muddle the polarities of figuration and abstraction into ambiguity, Sprung leaves them distinct, engendering a contrast that intensifies the impact of each.

Subscribe to the Hi-Fructose Mailing List