Gallery T'EL'IN

I have been painting all my life. Everything that I know and can do is the result of the thorough research and exploration in the field of Art and the world around us. Each canvas I present to the spectators has an original story told in the language of Art…
So what is Art? Even connoisseurs of Art are unlikely to give a definition of what the difference is between a masterpiece and a picture painted by oil which has not become a piece of Art. Modern time is favorable for creative work, it gives unbelievable technical opportunities to create an image, there are a great number of art trends. Therefore, now the fundamental concepts of Art have become obvious. So the concept, term, Art cannot be applied to any artistic work made by paint…
In my opinion, the emotion of the artist starts the colour, coloration, mystery of transforming the paint into colour. The colour and coloration dictate the plot, design, technique and size of the painting. That is why the majority of painters tend to choose oil technique of painting, toilsome and difficult, but letting the painter gain the slightest shades of colour, moreover, the colour of oil paint becomes more precious and filled with inner light as the years pass by! Experts and admirers know the magic of oil paintings; it is considered that the paintings are being worked at for many years… From my point of view, the work of art created for the sake of colour, the images created by means of colour, plot and the story told by language of colour, the magic of transforming the paint into colour is Art. As not all the rhymed words are poetry and not all sounds are music, so not everything that is painted is Art. So the foremost importance for the poet is poetical vision, for the musician is perfect pitch, for the artist is vision of colour. The world around us is surprisingly full of colours and fantastically full of harmony!!!
This mega beauty can be expressed in many ways, and one of them is Art. The plot for the painting came from the world around us, it captures the artist and is leading him … within the whole period of creating the painting, usually becomes symbolic and allegoric, avoiding all accidental and unnecessary… then you come to a staging point when the painting itself dictates the artist what needs to be done for its completion, at this stage you lose the ability to be objective towards your painting… and only on the edge of the unconscious you feel if you have fulfilled the idea that made you take the brush and start painting.

Born in 1956 in the South of France, Labro was exposed at an early age to modern painters such as Picasso, Matisse and Chagall.

At the young age of 16, he is admitted at the Fine Art School of Nice and have his first solo exhibition “Photographisme” in 1973 with artworks created on photographic paper.

He starts his professional career as set decorator for Paloma Picasso and works for renowned French directors such as Roger Planchon and Patrice Chereau.

Attracted subsequently by photography, he establishes his name working for designers such as Yamamoto Kansai, Kenzo, Jean-Paul Gaultier and many big names while taking pictures for all major fashion magazines by ways of Paris, London, Hamburg, Los Angeles, Tokyo, Hong-Kong and Sydney.

Labro is though more interested in pure artistic expression than in his bread and butter fashion photography and continues exhibiting and creating art works between his busy schedule. Photography is his main medium during his 20 years of photographic career but he creates art photography in unconventional ways.

Pushing technological limits using custom lenses with prisms and mirrors or ignoring “good practice” photography by taking pictures under extreme conditions like the full moon light he is the “enfant terrible” of photography but obtains corporate backings being one of the few photographers sponsored by AGFA Gevaert and Apple Inc.

He embraces the digital revolution in the 90′s which will transform photography in later years with a series of solo exhibitions “Ozone #9″, “Visions Across the Universe” and “Transmutation” using photography and computer manipulation.

In 1997 he decides to concentrate exclusively in art and he returns to the traditional medium of painting. Labro has lived in Gozo since 2003. He is inspired by the nature and spirituality of the island. Hence his huge Goddess collection. Labro won the prestigious Malta Biennale 2009. Within all his works, Labro has brought us not only visions of beauty, but also the promise of our dawning future. Surreal, captivating and complex. The viewer is given an experience far beyond the norm. Labro conveys that we can over come the fatalist thinking of our modern society. There is a synchrony to all our dreams and that we can choose the path of a vibrant paradise.

In his collection of paintings, Labro created his goddesses as strange creatures often depicted in a bulbous form with orange-brown hues and fluorescent green faces. The artist uses colours as symbols. The green colour on the face of the figures represents hope. The golden line behind the figures represents the sacred geometry.

Seemingly chaotic, his work is in reality a celebration of spiritual freedom. His paintings show a world in change, living, breathing and in constant motion.

Labro creates meaningful spontaneous expressions of the Universe.

Signaling change and awakening with his integration of ancient symbology paired with ultra modern hyper surrealism.

Labro’s strong ability to communicate in the universal language of art is what earns him the right to be called the “Techno-poet / Cosmic-Rimbaud of the Visual Arts.“

Born in 1956 in the South of France, Labro was exposed at an early age to modern painters such as Picasso, Matisse and Chagall.

At the young age of 16, he is admitted at the Fine Art School of Nice and have his first solo exhibition “Photographisme” in 1973 with artworks created on photographic paper.

He starts his professional career as set decorator for Paloma Picasso and works for renowned French directors such as Roger Planchon and Patrice Chereau.

Attracted subsequently by photography, he establishes his name working for designers such as Yamamoto Kansai, Kenzo, Jean-Paul Gaultier and many big names while taking pictures for all major fashion magazines by ways of Paris, London, Hamburg, Los Angeles, Tokyo, Hong-Kong and Sydney.

Labro is though more interested in pure artistic expression than in his bread and butter fashion photography and continues exhibiting and creating art works between his busy schedule. Photography is his main medium during his 20 years of photographic career but he creates art photography in unconventional ways.

Pushing technological limits using custom lenses with prisms and mirrors or ignoring “good practice” photography by taking pictures under extreme conditions like the full moon light he is the “enfant terrible” of photography but obtains corporate backings being one of the few photographers sponsored by AGFA Gevaert and Apple Inc.

He embraces the digital revolution in the 90′s which will transform photography in later years with a series of solo exhibitions “Ozone #9″, “Visions Across the Universe” and “Transmutation” using photography and computer manipulation.

In 1997 he decides to concentrate exclusively in art and he returns to the traditional medium of painting. Labro has lived in Gozo since 2003. He is inspired by the nature and spirituality of the island. Hence his huge Goddess collection. Labro won the prestigious Malta Biennale 2009. Within all his works, Labro has brought us not only visions of beauty, but also the promise of our dawning future. Surreal, captivating and complex. The viewer is given an experience far beyond the norm. Labro conveys that we can over come the fatalist thinking of our modern society. There is a synchrony to all our dreams and that we can choose the path of a vibrant paradise.In his collection of paintings, Labro created his goddesses as strange creatures often depicted in a bulbous form with orange-brown hues and fluorescent green faces. The artist uses colours as symbols. The green colour on the face of the figures represents hope. The golden line behind the figures represents the sacred geometry.

Seemingly chaotic, his work is in reality a celebration of spiritual freedom. His paintings show a world in change, living, breathing and in constant motion.

Labro creates meaningful spontaneous expressions of the Universe.

Signaling change and awakening with his integration of ancient symbology paired with ultra modern hyper surrealism.

Labro’s strong ability to communicate in the universal language of art is what earns him the right to be called the “Techno-poet / Cosmic-Rimbaud of the Visual Arts.“

Telin Alexander: Moscow hand artist, a painter, production designer.
He was born on August 11, 1966 in the family of a famous painter and academician, professor, People’s Artist of Russia, laureate of the State Prize, other State Prizes, master of genre painting, Vladimir Telin.
Magnificent authentic paintings of his father, his attitude to painting and art, the artists, and his encyclopedic knowledge as well as the greatness of his personality lied in the “corner stone” of young Alexander’s world outlook. His mother, Anna Telina, wasn’t an artist but had a passion for the fine arts and especially for painting. Thanks to her persistence, Vladimir gave his blessing to his son to try mastering a profession, which has already captured Alexander’s mind... The professional studies in Moscow middle school of arts come further, followed by the studies in Moscow State Academic Art Institute named after Vasily Surikov, which he graduated from in 1990.
When at school, Alexander already started participating in exhibitions. By now, Alexander participated in more than 300 exhibitions held in the Soviet Union, Russia and abroad.
Alexander has been repeatedly awarded with diplomas of the Russian Academy of Arts, the Russian Union of Artists, Moscow Union of Artists and the Moscow Association of Painters. Alexander Telin was awarded a scholarship of the Union of Artists of Russia for a series of portraits of children.
The artist is constantly in creative search and aesthetical study backed by an academic education and traditions of the Moscow school of painting.
Alexander’s early works are more realistic. One can definitely feel the influence of Telin-senior in them, particularly in a series of landscapes, the genre paintings...
For the first time the artist reflects his own vision in a series of children's portraits. Their subject and images are congruent with “Portraits of the Russian province” of the mid XIXth century. The artist periodically returns to the theme of children's portrait. The gallery of children portraits expands, the children at portraits “grow” as well... Alexander says - "it's important for me to capture the world of the preschool child: the moment when the world of childhood has not yet come into contact with the society; when the “toy" age is over and the personality, character and disposition of the "little person" become clearer...
In his first works on the portrait, the artist already uses the language of symbols and allegories.
A child's portrait of artist’s favorite writer, Oscar Wilde, serves as the most glaring example.
The painting is executed in the module found by the artist - “children’s portrait”. The artist creates a tragic and tense image of the genius of the Irish and English literature on the basis of an old black-and-white photograph of the great playwright made in his childhood. An illustration of a genius Aubrey Vincent Beardsley to the drama "Salome" serves as a background. Lilac colour of the dress, so beloved by the writer, bound by the purple ribbon, contrast of the graphic images of John the Baptist and Salome at the background combined with a tenderness of the child’s face, its vulnerability and openness to the viewer, all of this creates a an image of the writer. So clear in childhood and so contradictory in adulthood, it comes in tune with aphorisms fulfilling the famous work of Oscar Wilde: “The Picture of Dorian Gray.”
Yet, the main theme of Alexander Telin’s creative work is a contemporary man in a contemporary world. In one of his early paintings, “The Night Bakery”, the artist converts an everyday genre story into a kind of mystery and anagogical action using the structure of a fine tone... Even this work by young Alexander conveys the desire to create a “chord” of the visual perception of the colour. Later, he writes a series of paintings: “Slippery”, “Morning Flowers”, “Menagerie” and others, where the theme of people in contemporary world is explored in the key of colour palette...
It’s not just an action, show or attraction that the artist invites the viewer to. He calls for dialogue, for contemplation of the space of modern life, which is so beautiful. The core of life is God and beauty, and not the total anomaly, as it is often believed by the contemporaries.
In his later works Alexander chooses themes that are not quite figurative for painting, such as traffic jams (“Friday Evening”, new buildings (“Moscow Windows”, “Autumn Above the City”). The artist finds the right solution and by the language of art brings the viewer to conclusion that even our present in the world of high-tech is filled with light, colour and poetry.
A subtle sense of humor that is present in almost every work of Alexander gives a unique charm to his works.
Working with nature - flowers, still lifes, portraits, landscapes - is a necessity for the artist. Alexander says: “Vladimir Telin, my Father, had a rare compositional gift - "to twist the plots and themes”. He painted a lot of genre paintings such as "The House’s gone empty,” “Seeing off the guests", “Old women of Arbat", "Flock of crows" and many others. He constantly worked in the open air and left us portraits and landscapes of unprecedented beauty and delicacy, which later formed the basis of the paintings. He used to say: “It is like a vitamin for the artist - to work on location. Since my childhood I have never doubted this simple truth.”
All the great masters are attentive researchers of the world; they treat the creation of the Almighty with love and reverence.
Works made on location form a significant facet of Alexander Telin's creative work. At the same time, symbolism, allegory, and a tendency to organize the visible into the plot are the features of the artist's vision distinguish the “location” works of the artist from the simple “open-air exercises," as he humbly calls it.
Alexander paints a landscape as a finished canvas, a still life – as a canvas, a portrait – as a canvas. The only area where the artist can allow himself "a slight French negligence" is a work with watercolor and work with sketches for paintings and films.