مرحبا هنري شكرا لالك على هاللوحة الحلوة اذا بتسمحلي اني علق شوي انا بظن انو هاللوحة لواحد من الفنانين التنين يليي هنن غوغان او ايدوارد مونش لانو هنن اللي بيتبعو هاد الاسلوب ما بعرف يمكن انا غلطان بس هي اللوحة لوحة بسيطة بنظري مع كل احترامي لها ولصاحبها .
هي لوحة مرسومة بالوان الخشب وبتقنية الخشب الواقعي التي لاتحوي اي نوع من التجريد فاللوحات التجريدية المدموجة بلمسات واقعية توحي إيجاباً أكثر لدى الناظر إليها . وختاماً أيضا أقدم لك إعتذاري إن شكل لديك كلامي مضايقة.

شكراً يا غالي كتير على هالمشاركة الرائعة بالفعل يمكن كلامك صحيح

بصراحة انا مالي خبرة كبيرة بهيك شغلات

بس انا بصراحة بحب الرسم وحبيت يعني اشارك شوي

شكراً كتير مرة تانية

Andy Beck

Andy on his work:

Born in 1974, I began drawing and painting at a very young age. I’m a self taught figurative artist, working on portraits and paintings of people involved in doing different things. I paint mainly with acrylics, the rapid drying time they offer allows me to keep a vibrancy in my colours while clearly defined brush strokes bring a sculptural quality to my paintings.

Fang Ling Lee

About Fang Ling:

Fang Ling Lee’s artwork focuses on symbolic imagery that is conceived within large-scale transcendental paintings. In Fang’s work the union of realism and abstraction parallel the opposing themes that are represented. In this realm of allegory, her figures are the storytellers, led by the icons that exist within.

Currently, Fang has been the only artist to exhibit at all the national porn conventions including the AVN Expo in Las Vegas for the past two years. Recent collectors include Jenna Haze and Sasha Grey. Her current work reflects the indulgence of sex and death.

Andy Gilmore

About Andy:

Bright swirling colors, intricately interwoven lines morphing into sleek harmonius forms – the mesmerizing kaleidoscopic images of Rochester, New York-based multi-talent Andy Gilmore have a futuristic, almost alien feel to them. His designs transcend straightforward aesthetic beauty, their forms inhabiting a realm of mathematical complexity, containing a certain geometric musicality.

The ‘musicality‘ of his works is more than a coincidence – Andy Gilmore is also a musician. Deeply interested in the physics of sound and acoustics, his work reflects just that. In these pieces, Gilmore explores the physical properties of tone – the resonance of a single string creating a range of vibrations and sound waves, both audible and inaudible – and mirrors that relationship visually, producing complex images with overtones swimming through undertones, melodies dancing with accompaniment.

Composed primarily of bold and bright colors on black backgrounds, Gilmore‘s hypnotic forms seem to hover like spacecrafts – out-of-this-world figures of elaborate and sophisticated design. More than a participant in the rising trend of digital art, Andy Gilmore is an innovator, dreaming up works that, without computers, could not exist.

Andy Gilmore currently lives and works in Rochester, New York. His graphic design clients include The New York Times, Dazed & Confused Magazine, Wire Magazine, and many others

Adam Beane

Adam on his work:

Since beginning sculpting in 2002, I have been fortunate to work with some of the best companies in the industry on many high-profile projects. The excellent art directors I’ve worked with have been instrumental in my growth as a sculptor, a communicator and a businessman. They have frequently allowed me to push projects beyond expectations and as a result, I have become known for dynamic compositions, action poses, nuanced drapery work and my ability to capture likenesses with expressions. I now sculpt exclusively in CX5, a tremendously versatile material I developed which handles like clay when warm but is hard as plastic when cool.

Hannah Stouffer

About Hanna:

Los Angeles-based illustrator Hannah Stouffer finds a great deal of comfort in imagery- it’s an admiration that is often times overwhelming. With an infatuation for icons and images that reflect and categorize historical eras, genres and subcultures, her work is an opulent, elegant and beautifully intricate mixture of illustration and design. Her densely-packed compositions consciously recall classical elements from our past and combine them with our modern attractions, creating cohesive yet opposing array’s of imagery and embellishment. She focuses on the contrasts between periods in time, subcultures and social trends- and merges them together with a high regard for traditional decoration.

Meredith Dittmar

About Meredith:

Meredith Dittmar is an artist living and playing in Portland OR. Born near Boston Mass, she grew up in a world of pet pigs, horses, hay-forts and spy games . Follow this with an education in computer science, a career in interactive design, a compulsive need to create, and a drive to Seek and you get the major elements of her person and work.

Dittmars human-animal-plant-energy amalgams contain threads of common elements and colors to express deep levels of union across themes of biology, technology, and consciousness . Her characters are frequently involved in quiet expressive moments, or lounge facing their audience so they can share their inner space. Dittmar believes it is this space we recognize in ourselves, and through convening in that space, the interconnectedness of all things is revealed. She sees the act of spontaneous artistic creation as part of a larger practice of being present, and a way to better understand herself and reality.

Dittmars work is featured in the books Dot dot Dash and Mascotte 2, along with numerous magazines and online publications. In conjunction with her artwork she works as an independent character designer and maintains her company Corporatepig, through which she continues to create thousands of unique handmade characters called “My Guys”.

Julian Lesser

Julian on his work:

As I got older I realized that I didn’t have to just make things that were pretty or representational; I could make things that were in my head. I could tap my thoughts and emotions and express them in paintings. I could capture my fantasies and fears in a way less fleeting than my imagination, putting them into art, something tangible for others to see. The more I realized the power I had with the brush, the more I painted. I began to see other people become inspired and moved by my work. My work grew into something bigger than me and turned into a tool for communicating with, inspiring and transforming the people around me.

About “Future Gardens and Other Destinations” (left):

Future Gardens and Other Destinations is the result of time I’ve spent self reflecting, traveling through my mind searching for answers. While creating these paintings, with simple pours and intricate line work, I spent time in my head working through the event s of the past year. The process of making these paintings gave me quiet time, away from the city, in my head, to reflect upon myself, my choices, motivations and fears. The paintings are gardens, cities and maps of places I’ve traveled while contemplating. They are the places I’ve gone to recharge, rethink and analyze my past, present and future.

Jeanne Cassanova

Jeanne on her work:

Baskin Robbins is infested with roaches. I know this because when I worked there I would sometimes catch a fleck of brown darting motion out the corner of my eye and have to stifle a scream in the face of an innocent customer. But there amidst the fluorescent saccharine fantasy was something deeply creepy and disturbing hidden right beneath the surface. I think that it was during the seminar on proper mopping techniques that I had my epiphany: Baskin Robbins survived on false facades. The average customer had no idea that the beautiful pink swirls in the ice cream turned tar black when left in a melted puddle on the floor for a day. This ugliness lurking under an exaggeratedly sweet surface has permeated my artwork and become the underlying theme within my paintings. My decisions are steered by my belief in art as a conglomeration of creativity, production, theory and contemporaneity

Jeanne Cassanova

Jeanne on her work:

Baskin Robbins is infested with roaches. I know this because when I worked there I would sometimes catch a fleck of brown darting motion out the corner of my eye and have to stifle a scream in the face of an innocent customer. But there amidst the fluorescent saccharine fantasy was something deeply creepy and disturbing hidden right beneath the surface. I think that it was during the seminar on proper mopping techniques that I had my epiphany: Baskin Robbins survived on false facades. The average customer had no idea that the beautiful pink swirls in the ice cream turned tar black when left in a melted puddle on the floor for a day. This ugliness lurking under an exaggeratedly sweet surface has permeated my artwork and become the underlying theme within my paintings. My decisions are steered by my belief in art as a conglomeration of creativity, production, theory and contemporaneity

ميرسي هنري لوحات حلوة

مع اني مابفهم بالرسم :oops: :oops:

والله تعبت حالك بس كأنو لاحياة لمن تنادي؟

انا من عندي شكرااااااااااااااا

هههههههههههههههههه

اي والله كلامك صحيح

اصلا انا ما بقا انزل تكرم عينك