Oleg Korolev

Artist Statement

A Transcendental part of human nature always looks for its own Eternal source and inevitably has doubt regarding visible reality. The conditionally perceived illusionary surroundings require examination and overcoming… Surrealism, through its inner absurdity and paradoxes, destroys trust in reality. It is an aesthetic game of the human imagination with a nostalgia for everlasting spiritual liberty. But Visionary Art has a different field of the play, the Contemplative artist is a participant of the action himself, he doesn’t play with the help of mind by the symbols and their mechanical constructions anymore, but operates with energies, forces which bear the images, intuitive way… A Visionary artist can not be Atheist, he always serves a certain Power and represents it by own creative activity and life.

About the Artist

Oleg Korolev (born in 1968) is a Russian painter whose work has been exhibited and represented in the private and corporative art collections of Russia, Europe, North America and Australia.

Member Data

Membership: senior member since Sep. 7, 2008
Energy Art style: energetic surrealism
Medium: oil on canvas

De Es

Artist Statement

My voice is in my paintings, telling stories of the journey of GETTING TO THE POINT, where THE INNER and THE OUTER, THE ONE and THE MANY, merge in peace. How close we are – ART can tell.

Biography

Born in 1942, in Gresten, Austria.

Lightsearch: 1960-1970
Graduated in 1961 from an engineering school in Vienna. Study of the painting technique of the Old Masters with Ernst Fuchs. First one-man show in 1964 Ideas of Truth. Lives in Solothurn in Switzerland from 1968-1972. New painterly impulses from the exploration of the silk-screen technique. Ideas of Consciousness Expansion lead to the Stone Period.

The Stone and The Light: 1970-1980
Assistant to Professor Ernst Fuchs at the Summer Academy in Reichenau in 1973. Series of shows in Vienna and throughout Europe. Moves to Soho, New York, 1975. The Stone Period culminates in the triptych The Joining (1977) and ends in the series Time Portals. Publications in the magazine Omni. Opens a gallery for Transformative Art called Studio Planet Earth in 1979.

Transformation and the Dome of Peace: 1980-1990
Starts to work on a cycle of 100 paintings (each 2m x 2m) for the Gesamtkunstwerk Dome of Peace. Publication of The Philosopher’s Ston. Moves back to Vienna in 1986, adaption of The Sinnreich as studio and gallery. First sculptures: The Planetarian Couple (1987 to 1989). Completion of the Dome of Peace Cycle.

The Skin of the Earth: 1990-2000
Outdoor exhibition of forty planetarians (painted sculptures) on the Gurten Mountain in Bern, Switzerland in 1991. Publication of Heavy Light (Morpheus) in 1993. Nature, structure, and wave become the major words in the image language of this period. To celebrate the new millenium, De Es produced another 100 Planetarians, which appeared “Am Himmel” in Vienna in 2000.

Architextures: since 2000
As the result of the process of painting the Planetarian sculptures emerges a new dynamic style, which shows swarm-like formations of soul-figures, embedded in streaming energy-patterns and elemental space-systems. Very condensed basic imagery.

Member Data

Membership: senior member since Sep. 11, 2008
Energy Art style: energetic surrealism and abstraction
Personal style: transformative art
Medium: oil / acrylic on canvas / board / sculpture

A. Andrew Gonzalez

Artist Statement

I would come to view my drawings … as mystical love poems to the soul. I would often relate to the female figures of my artwork as dakini messengers or as an anima mediatrix to the dimensions within, the projected mirror of the soul. For me, drawing and painting became soul-crafting.

The imagery began to develop the quality of a revived Pre-Raphaelite aesthetic, or rather a contemporary sacred symbolism with a predominant emphasis on the eternal feminine. I began to master the airbrush which allowed me to create a sculptural photographic look with incredible subtlety. It also allowed me to refine values and design with an almost unconscious immediacy that balanced well with my controlled conscious intent. My approach to the creative process is always a fine balance between order and chaos.

Feeling the need to contribute transformative images of beauty to the collective imagination, my imagery would develop an implicit antithesis to H. R. Giger’s artwork. I felt driven to show in my work the liberation of the body and soul out of the dark depths of decay and perverse eroticism. By sublimating the erotic towards an angelic sensuality and by using ascension and rebirth symbolism, a sacred eros would emerge as the predominant theme of my work. Not the erotic as simply the sexual, but as our bodily communion with the living flow and rhythms of energy. I can feel this primordial living energy flow through me as I paint, forming into the sensual movement of a transfiguring biosophic flame that flows through and around the figures in my imagery, suspending them in an ecstatic moment, an eternal dance poised on the threshold of a new birth. It is the archetypal dance of the sphere and the serpentine movement of form. The dance of the spermatozoa and the ovum, the serpent and the egg, the dragon and the pearl and the life-giving waters of the comet and the sacred ground of the earth.

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Member Data

Membership: senior member since Aug. 31, 2008
Energy Art style: energetic surrealism
Personal style: sensual, transfigurative, and esoteric art
Medium: acrylic on clayboard or panel