Media and Company Representing Artists Since 1987

About Media and Company / Contact Us

ARTS4U.COM - PEOPLE IN THE ARTS

 
John Eugene Melecsinsky was born in Brattelboro, Vermont on November 26, 1935. He received his primary education in New Britain, Connecticut, where he graduated from high school in 1953. Later in 1935, Melecsinsky enrolled in Pratt Institute, Brooklyn, NY and graduated in 1967 with a Bachelor of Fine Arts degree in Graphic Arts and Illustration. After graduation from Pratt, Melecsinsky enrolled fro two years in the Academy of Fine Arts in Florence, Italy. Since then he has been living and painting alternately in Hinsdale, New Hampshire and in Florence, Italy. During this time, Melecsinsky has exhibited in one-man and group exhibitions throughout Italy, France, Switzerland, England, Australia, Spain, Canada, and throughout New England and New York State.

 

 

 

 
A visual artist, like a musician, employs many essential elements in creating a successful work of art. The primary elements are: Concept (the original vision), Composition ( active or static), Design (shapes,texture, variety, pattern, rhythm), Light (tones, values), Draftsmanship (perspective and line), Technique (choice and control of media), Color (notes and hues), Interest (to maximize impact), and Restraint (choice of simplification or reduction of unnecessary details). The artist¹s work presents a stream of choices that ultimately become decisions.

 

 
Ms. Rezendes studied with Diebenkorn, Oliveira and Hasegawa at California College of Arts and Crafts in Oakland, where she was a scholarship student for her BFA (1957) and with Kokoschka at his Summer Academy in Salzburg during her eighteen months of travel in Europe on a B. Alexander Scholarship. Living in Florence for two winters, she had a one woman show there (1959) at the Casa Di Dante. She received her MFA, MA on a teaching fellowship at Mills College (1962) and then spent four months in Mexico and Guatemala visiting archeological sites and drawing religious and secular festivals that became the theme of her one woman exhibition in 1964 at the Santa Barbara Museum of Art.

 

92 Years of Life, Love, and Happiness

I believe a work should have a vitality of its own not derivative or imitative. After art school I continued with realism in my creations which was through sculpture. The big switch from realism to abstraction form came first from painting, self taught. After a period of realism in painting. I gradually shifted into abstract experimentation. I discovered a great exhilaration. The transition was gradual.

 

 
To use the language of music, in my paintings, the first violin is played by colors. When the rest of the orchestra comes into play, each instrument adds subtle contours, as they are set in the textures of the brush strokes. The emotions and logic of my world are intertwined in an ever changing symphony of color. My work is baseed on a principle of continuity, constant development, and an acceptance of the completed creation. I pour my creative energies into my paintings so that they may speak for themselves.

 

 
I'm drawn to the affect I have on others within my creations. I want to have a bond with the viewer. I want to offer my ideas of calm. My meditative pieces express the goodness of being. They reassemble the journey and what we're all going through on this journey. We're all in this together... I want to invoke that sense of being and instill some order of compassion for everything around us. I visualize and know the sensation of what I want to mimic using these rooting objects of nature. To me it's about the process and inevitable course. It's transformation.

 

 

DON GOODMAN
I approach each canvas with a sense of discovery--only once in every great while have I even the faintest glimmer of what the painting might become. My work is therefore a free, harmonious expression of often conflicting and contrasting impulses--a synthesis of what was, what is, and what could, or cannot, be. I prefer to work with the strong, vibrant colors of florescents and acrylics. My latest painting incorporated the textures of mixed media such as gold leaf, mica flakes and glass beads.

 

 
Nature for me, is the stimulus for artistic expression - the essence of the work of art. My endeavor is unity of formal consideration, with the process or thought, spontaneity of vision is sought to achieve simple awareness of living. Harmony and balance are key components in the construction of image. Of course, a little disorientation could lead to insight."

 

 
For me the actual process of painting, the physical activity of it, the manipulation of the medium and the subconscious (usually landscape) imagery that surface are of interest to me. I want to validate my relationship with them but they are suspect. I destroy many of these images trying to articulate the elusive. It's an emotional and intellectual struggle that never seems to end.

 
The approach of my work is depicting ancient myths, transforming them into abstract figures which updates them into a modern context. Ancient myths were abstraction of truths. he formal problem with which each series of sculpture is how to enclose vertically the largest volume of space without too much loss of mass and weight. By creating enough emptiness I can resurrect forms within the cavity. I am interested in human secrets, the tension between the mysterious interior space and the encircling skin of the outer surface.

 

 

DIANA BOEHNERT
This series - based on the 'Sacred Heart'- seeks to explore the religious symbol that permeates Catholic icons. Using the image of the heart can be a stepping stone to understanding ourselves, our needs, and our purpose in life. It helps to retrieve a vision rooted in the soul that responds and rises to heal and free us to love and care for ourselves and others. The act of painting from a spiritual source is also symbolic of understanding the world in a sacred manner, thus empowering us to initiate change and establish the significance of the spiritual in modern life.

 

 

 JOHN JUST ELLIS
While immense in nature, God's creation, I am excited by a shape, a color, a texture, a line, a movement of sunlight passing over form..causing lights and darks to undulate. Within the use of energetic color and form, there is a woven thread of spiritual continuity which does arouse the soul I am searching; I am challenged by the truths hidden in nature that wait to be released. My art creates a nature beyond nature, an entity in itself, answering my spiritual and aesthetic needs. My designs are ideal for use as dynamic central focal points; the spectacular use of hue and form will provide a platform for which to create a decorative theme.

 

 
Modeling from life, my sculptures tend toward the reflective and introspective. The fact that I am a figurative sculptor, working in traditional materials and methods, reflects an appreciation of old ways, solid and tested; while the sculptures themselves, often express feelings we share living in a time like no other. We are confronted by more knowledge and life choices than any other people in human history. I try to capture a sense of the unique burden we carry, and that vulnerable, private world in which we can begin to rediscover a sense of dignity and respect for life. Without idealizing, I seek an honest characterization of my subjects. The sculptures retain the spontaneity and energy of the creative process. They are available in a variety of materials and lend themselves well to bronze casting.

 

 

SUSAN STRAUSS
Susan Strauss is recognized as one of New England's most talented portrait artists. Her paintings are included in many private and corporate collections across the country. A painter in the classical realist tradition. Her portraits, which are included in both corporate and private collections, portray people from varied professional backgrounds, including business executives, attorneys and physicians. Ms. Strauss now devotes her talents entirely to portraiture. Believing that a successful portrait is the result of close collaboration between the subject and the artist, she begins with a meeting to discuss the feeling and tone to be conveyed in the portrait. Together she and her client consider the background and the pose as well as details of attire. One photographic sitting provides a selection of expressions, poses and lighting effects for reference purposes in the final composition. The personal attention which Ms. Strauss gives to each subject brings the canvas to life with portraits that truly reflect the unique character and personality of each subject.

 
I am what I paint. I react closely to whatever environment I happen to be in. I attempt in my drawing and painting, to extract fragments, paint them and put a lot of myself into the work. Up until the mid-twentieth century, the best artists from cave painters to Picasso were observers and recorders in one style or another, realistic or abstract. Having been born on a small Island surrounded by saltwater, my life and inspiration has been a salty and watery one. Nearly all of my painting, etchings and wood sculpture relate in one way or another to the sea, the "Mother of us all". My great art instructor and fine artist, Frank Vincent DuMond, opened my eyes to a life in the Arts and taught me to really look, not just see. "Paint the Light" he said and I try in my own way. I can never tire of the challenge to capture fragments from my world which are lit from another. My subject matter, the sea, its shores, birdlife, flora and fauna and skies is what 'turns me on'.
 

In 1994, I had the dream of sculpting one-of-a-kind Bridal Portraits! I have always been in love with weddings and the excitement and glamour that surrounds this event. It is a real joy to be able to share this gift with others. My aim is to capture not only the Bride's likeness, but her spirit, personal glamour, grace, elegance, and beauty. Every Bride is beautiful and deserves to have only the best.
 

 

Thank you for visiting!

ARTS4U.COM

ABOUT MEDIA and COMPANY

CONTACT US

All copyrights reserved, ©Media and Company 2009. Established in 1987

Site First Published: 7/1997 . Updated: 2010
Lilia M. Kuzmicz