Miguel Cerejido
The nexus between music and painting and ways of pictorially representing sound and silence, have been the main subjects of my work as an artist since 1980. This exploration has many facets from attempts at a pictorial representation of sound, to the creation of environments (maybe places or landscapes) that result from the sensations, feelings, states of mind and/or visions generated by music. My work has gone through different stages from attempts to illustration of specific musical work to explorations of aspects of the musical structure itself. This is, of course, purely subjective
The final phase of production in my work is distinguished by a return to painting, almost forgotten in my eagerness in use it as a medium instead of a purpose, and the utilisation of all I’ve learned through the years about shaping a pictorial – not musical – art work, which held all the spiritual power of music, as an autonomous entity, without moving it away from it’s musical sources by means of referent codes, which, I hope, made possible the identification of the theme by the viewer.
The resolution of this process continues to evolve as I grow as an artist and a person. It remains my principal challenge
Miguel Cerejido
探索Miguel Cerejido的当代艺术品,浏览最近的艺术品并在线购买。 分类: 当代加拿大艺术家. 艺术领域: 绘画. 帐户类型: 艺术家 , 加入会员自2002 (出生国家 古巴). 在Artmajeur上购买Miguel Cerejido的最新作品: Miguel Cerejido:发现惊人的作品的当代艺术家。浏览艺术品,购买原创作品或高档的印象。
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The nexus between music and painting and ways of pictorially representing sound and silence, have been the main subjects of my work as an artist since 1980. This exploration has many facets from attempts at a pictorial representation of sound, to the creation of environments (maybe places or landscapes) that result from the sensations, feelings, states of mind and/or visions generated by music. My work has gone through different stages from attempts to illustration of specific musical work to explorations of aspects of the musical structure itself. This is, of course, purely subjective
The final phase of production in my work is distinguished by a return to painting, almost forgotten in my eagerness in use it as a medium instead of a purpose, and the utilisation of all I’ve learned through the years about shaping a pictorial – not musical – art work, which held all the spiritual power of music, as an autonomous entity, without moving it away from it’s musical sources by means of referent codes, which, I hope, made possible the identification of the theme by the viewer.
The resolution of this process continues to evolve as I grow as an artist and a person. It remains my principal challenge
Miguel Cerejido
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255 Centrum Boulevard, Orleans Client Service Centre
Explorations on West Coast Native Arts and motives. Paintings in Acrylic on canvas and paper.
Press release
Expos Collective (Listing)
1979- Itinerant Exhibition in Europe.
1984- 1st Biennial of Havana. "L" Gallery, Havana.
1985- School of Arts and Literature. University of Havana.
1987- Professor’s Salon. Superior Institute of Industrial Design, Havana.
1989- "INTERART" Fair. Poland.
1990- "La Acacia" Gallery inauguration. Havana.
1991- "70 years of Cuban Painting" "Siqueiros" Polyforum.
1992- Auction at the centre Cuban studies. New York.
1993- Fair of Seville. Spain
1997- Exhibition of Contemporary Cuban Art. Madrid, Spain.
1998- "Gallery Terra". Wuppertal. Germany.
1998- XXV Anniversary of the Latin-American Commission of Civil Aviation. Mexico.
1999- "Con un poco de Amor". Visual Arts and Design Provincial Center. Havana.
2000- Design and decoration works for the "Catholic Immigration Centre". Ottawa. Canada.
2001- Design and decoration works with the stage designer Simon Clark, for the "Tulip Festival" At David Caution & Mark Masters' studio). Ottawa. Canada.
2004- Complete design and creation of The Black Sheep Stage for the Cisco Systems Ottawa Bluesfest 2004. Ottawa. Canada.
Expos Solo (Listing)
1984- Center for the research and development of Cuban Music. Havana. Cuba.
1985- "From Music to Canvas". Cuban Found of Cultural Wealth Gallery. (FIB) Havana. Cuba.
1986- "Arte Universal" Gallery. Trinidad, Cuba.
Winfred Lam Gallery. Havana. Cuba
Superior Institute of Industrial Design's Gallery. Havana. Cuba.
1991- "Do’s". "La Acacia", and "La Habana" Galleries. Havana. Cuba
1995- "Time, Music, Painting; Frederic Chopin" Embassy of Poland. Havana. Cuba.
1999- III International Fair Cubadisco 99 . Pabexpo. Havana. Cuba
"Ad Lib". National Hotel Of Cuba. Gallery. Havana. Cuba.
2000- "Ad Lib". Visual Arts Centre, Orleans. Ontario. Canada.
"Cerejido's Selected Works". "Au café 4 Jeudis". Hull. Quebec. Canada.
2004- Complete design and creation of The Black Sheep Stage for the Cisco Systems Ottawa Bluesfest 2004. Ottawa. Canada.
文章
1986- 1st Place in painting. "V Salon UNEAC". Sancti Spiritus, Cuba.
Painting Award at the Provincial Encounter of Landscape. Sancti Spiritus, Cuba.
1998- 2nd Place at the Painting Contest of the Civil Aeronautics Institute of Cuba.
2002- January 2003 Digital Color Artist Of The Month. Digital Consciousness Art Database.
2004- July 2004 The Ottawa Citizen “Best Ambiance” award to The Black Sheep stage design at Cisco Systems Ottawa Bluesfest 2004.
文章
The nexus between music and painting and ways of pictorially representing sound and silence, have been the main subjects of my work as an artist since 1980. This exploration has many facets from attempts at a pictorial representation of sound, to the creation of environments (maybe places or landscapes) that result from the sensations, feelings, states of mind and/or visions generated by music. My work has gone through different stages from attempts to illustration of specific musical work to explorations of aspects of the musical structure itself. This is, of course, purely subjective
The final phase of production in my work is distinguished by a return to painting, almost forgotten in my eagerness in use it as a medium instead of a purpose, and the utilisation of all I’ve learned through the years about shaping a pictorial – not musical – art work, which held all the spiritual power of music, as an autonomous entity, without moving it away from it’s musical sources by means of referent codes, which, I hope, made possible the identification of the theme by the viewer.
The resolution of this process continues to evolve as I grow as an artist and a person. It remains my principal challenge
Miguel Cerejido