Eva Fidjeland Glas
5.0 i betyg av av 1 omdömen
`What makes Swedish artist Eva Fidjeland so unique is her ability to create pieces of art using natural, earthly tones while maintaining a commitment to photography, digital art, and traditional visual art. Eva Fidjeland has the ability to see the elements of the world as they are, including the beauty that is nature and animal life, and recreate them in the form of art that has cultural relevance to audiences across the world. Her cultural pieces would fit seamlessly in any gallery or museum in any part of the world.´(Quote from review written by Dominic Richardson, writer/editor at Art Bracket LLC)www.artbracket.com
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Eva Fidjeland’s Innovative Style of Digital Art
Posted by Online Art Gallery on February 23, 2014 at 8:05pm
by Dominic Richardson, writer/editor at Art Bracket LLC
A new trend in visual art is emerging due to artist Eva Fidjeland’s implementation of an innovative, creative approach to the process of manufacturing art. The artist is known internationally for creating in a variety of mediums, from the traditional canvas to digital, and is currently presenting her work in a new style of collaborative art. The artist is displaying her creative expertise within the various mediums and is also transforming her physical expression and character for introduction within her creations. Fidjeland is seamlessly incorporating aspects of digital technology with visual and performing art, creating unique works that tell stories through intricate details.
Fidjeland’s extensive collection of digital photography captures the aesthetic details of her subjects, including still, animal and plant life. In a digital work entitled “Dragon”, Fidjeland presents a close perspective upon her subject, highlighting multiple intricate aesthetic details. Notice how the detail of the wings is of a different aesthetic quality than the legs and other areas of art. In the midst of these details, emerges the dragon fly’s expression, providing the observer with a neighboring view of its moment in time.
Various stages of human expression are now at the center of Fidjeland’s innovative style in art. In a work entitled “The Red Lady II”, the artist takes a snapshot of a human expression, and accentuates specific details through texture, color and shading. The artist’s creative decisions, particularly pertaining the color and shading, establishes a precise expression of emotion and tone. Texture is a key visual factor within the art as the observers learn about Red Lady’s character through her choice of color in lipstick, the smoothness of her skin, and the covering of an eye with her hair.
Each digital photograph establishes a character through expression and visual detail. The character in “Birdwoman X”, for example, possesses a different style and emotional nature than the character Red Lady. Birdwoman’s color and shading, relative to the character’s hair, eyes, skin and lips, establishes character through exquisite shadings of brown, red and green. Performing a comparative facial analysis of the two characters will result in the depiction of two unique forms of expression.
Fidjeland is pioneering a new style in visual art that uses digital technology to place emphasis on the expressions and details within creations. Her work is innovative for seamlessly collaborating visual and performing art with digital techniques. The artist is embodying the concept of collaborative art through her creative process and details present in her creations.
Primary Forms with a Bold Function
I like the slight melancholy mystery of these images. In general, the softened color palette and contrast evokes a faded memory, but the primary forms have a bold function.
`Evolution´ employes a primordial form, spiraling up out of the water like a mythic sea creature. I also see the faintly grainy quality and washed out magenta tonality as harkening back to old photographic documentary film, though I´m unsure of the media/process actually employed here. I find the vertical orientation is also unexpected for the surreal landscape, as the weighty spiral form doesn´t appear able to sustain its upward thrust for long, as it curls into itself.
The piece entitled `Liz´ is an enticing picture as well; some more direct photographic reference to lizards is evident; but there is also a diffused manipulation of the image that muffles direct or overt pictorial representation. The resulting image calls to mind pictographic symbolism from a host of ethnic traditions and artistic eras. In this way, `Liz´ rminds me of a mellowed Florence Putterman painting. So the piece seems less about the natural subject depicted, and more about the state of flux, or evanescent movement.
(Written on May 11, 2013 by resident curator Kristen T Woodward, Professor of Art at Albright College in Reading PA, USA).