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Linearion
"boy thinking under beach bar shade (black acrylic on paper)"
Oil | 15.8x11.8 in
$302.96
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Biography
Although I have a technical background, I taught myself to draw as a means of escape.
I experimented with painting but I find it far more natural to draw.
The motion of the pen on the paper to begin to shape the outline of a body is stroke it repeating the form recorded in my memory.
Drawing the lines without lifting the tip of the pen from the paper is an act of excitement and erotic liberation. From the time when prehistoric man drew bison on the walls of the cave, the picture that emerges from desire has been no more than a evocation and call to hunt.
I'm thrilled more by faces than by bodies, more by the serenity of statues than pornographic sketches and more the expression of the line than by anatomical precision.
Expressiveness and precision are the two scales of the balance. Together they provoke the exaltation of plastic sensuality of the fragments of much admired work: The accuracy of anatomy on the rugged bronze Cista Ficoroni, the imprecise accuracy of Velázquez, the casual brushwork, perfect tones and natural forms from Corot in Italy, the unfinished and misty stains of Picasso's Rose Period or the playful dance between the shards of the 'View of an Ancient City' by Klee.
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Nationality:
SPAIN
- Date of birth : 1975
- Artistic domains:
- Groups: Contemporary Spanish Artists
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Activity on ArtMajeur
Last modification date : Mar 5, 2019
(Member since 2012)
Image views: 27,050
Artworks by Linearion added to favorite collections: 21
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Added Jun 4, 2014
PEDANTIC SELF PORTRAIT OF LINE ARION
Although I have a technical background, I taught myself to draw as a means of escape.
I experimented with painting but I find it far more natural to draw.
The motion of the pen on the paper to begin to shape the outline of a body is stroke it repeating the form recorded in my memory.
Drawing the lines without lifting the tip of the pen from the paper is an act of excitement and erotic liberation. From the time when prehistoric man drew bison on the walls of the cave, the picture that emerges from desire has been no more than a evocation and call to hunt.
I'm thrilled more by faces than by bodies, more by the serenity of statues than pornographic sketches and more the expression of the line than by anatomical precision.
Expressiveness and precision are the two scales of the balance. Together they provoke the exaltation of plastic sensuality of the fragments of much admired work: The accuracy of anatomy on the rugged bronze Cista Ficoroni, the imprecise accuracy of Velázquez, the casual brushwork, perfect tones and natural forms from Corot in Italy, the unfinished and misty stains of Picasso's Rose Period or the playful dance between the shards of the 'View of an Ancient City' by Klee.
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