Élie Nysquisot

Being poised in anarchic tastes, I consider the parallactic to be subversive to more objective forms of empiricism. Through mereological nihilism, the denudation of observation results in pre-established harmony. I contend that form is meaningless.
Quite possibly, only the analysis of the anatomy between space and distances (and the transfiguration of their co-ordinates
(form) into their composite potential) exists in how to evolve expression through art.

Autodidact. A late-bloomer; began painting at the age of 17. Has had one small private 2-man exhibition; along with one commission for an installation at an university. A blossoming semi-professional.

Currently, on studying some of Rembrandt's techniques: of rusting zinc white, etc.; it has become my desire to
to achieve something similarly modal, at least. I am working on sketches to practice and refine the technique of
painting piecemeal (section by section); to paint without a tonal base, thus disconnecting the picture, as a composition,
by the division of hues. I want to use this method to paint the face, as applied to portraits, etc.
Using only my eye, I would use hues, based from the overtones of the face or Subject. I would examine the
technical aspects (of the Subject); then, simply extend the remainder of the picture, making use of tertiary colors
& half-tones. I imagine the painting would appear centrifugal, creating a type of referential motion.