Ninfa (2022) Pittura da Lujan

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Quest'opera d'arte appare in 2 collezioni
We are always in contemplation, both with ourselves, and other’s to debate the form and function of what to think about art. People work hard to visually obtain references, which can personalize the elements of their own ideas. Artistic interaction often usurps our preconceived idealisms by expanding the relationship with people, places, and thoughts[...]
We are always in contemplation, both with ourselves, and other’s to debate the form and function of what to think about art. People work hard to visually obtain references, which can personalize the elements of their own ideas. Artistic interaction often usurps our preconceived idealisms by expanding the relationship with people, places, and thoughts outside of the conventional box and impinges upon one’s ambivalence. This subjective reality becomes the center stage that the classical man may look to reject in order to control outwardly but internally dreams of this mental freedom. In, Lujan’s digital constructions, partial elements of his subject are often commingled with textures from a host of both man-made and natural objects. This methodology becomes a cohesive unit between subject and object idolizing an aesthetic synthetic dance with alternating informational references.

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We are always in contemplation; both with ourselves, and other’s to debate the form and function of what to think about art. People work hard to visually obtain references, which can personalize the elements[...]

We are always in contemplation; both with ourselves, and other’s to debate the form and function of what to think about art. People work hard to visually obtain references, which can personalize the elements of their own ideas. Artistic interaction often usurps our preconceived idealisms by expanding the relationship with people, places, and thoughts outside of the conventional box and impinges upon one’s ambivalence. This subjective reality becomes the center stage that the classical man may look to reject in order to control outwardly but internally dreams of this mental freedom. In, Lujan’s digital constructions, partial elements of his subject are often commingled with textures from a host of both man-made and natural objects. This methodology becomes a cohesive unit between subject and object idolizing an aesthetic synthetic dance with alternating informational references.

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