Raymond Papka: A Calulated Artist of Science

When one looks into the beautifully unexpected and intricate art of Raymond Papka, there is no doubt that it is derived from the science in his own life. With a degree in chemistry, Raymonds’s incredibly unique assemblages of paint and embellishments elude to a technical and scientific narrative.

This art is created by use of physical and visual systems. The artist uses everyday discarded objects to arrange and create his art. This process has also turned into his alteration of books which consists of a process where he cuts tears, glues, burns, folds, paints, adds to, collages, rebinds, gold-leafs, creates pop-ups, drills, and bolts. The book is manipulated until it becomes a 3-dimentional work of art. Beyond books, Raymond also engages in Enthusiastic Painting. This is a variation of an incredibly ancient painting technique where beeswax is melted with resin and color pigments are added. Once the wax hardens, it is fused with fire and brilliant and beautiful work begins.

Raymond is not so concerned with his viewer completely understanding his art as he is with them questioning what is going on. The mantra of his Artist’s Statement is that the only thing constant is change. As artists and Art enthusiasts, change can be different for us all. He has a fresh and modern theme in and behind his work that gives him a realistic outlook and enables him to look forward and perpetuate his work into interesting and wonderful places.

Raymond Papka

Raymond Papka

Raymond Papka

Raymond Papka

Raymond Papka

Raymond Papka

Raymond Papka

Raymond Papka

Frank Herrmann: Theories and Works

Narrative, words, journey and process: they are words that are in almost every artist’s vocabulary, yet they have a personal and unique meaning to each individual who values them. As a 20th and now 21st century artist, Frank Herrmann has his own passionate context for those words, along with many others. His creative journey is continuously influenced by Rembrandt’s 17th century Europe. Although they are from different times and their painting processes are incredibly diverse, Herrmann more identifies with the inspirational mentalities of this past era. The most exciting part of his painting journey is that which has yet to be created. As with Rembrandt, there is a lure into that of the unseen and a suspense of what is on the other side of the easel which Herrmann speaks passionately about in his artist’s statement:

“Rembrandt’s The Painter in His Studio, while providing a self-portrait of the great painter, wordlessly conveys a description of the creative process itself. The viewer is deprived access to the artist’s work- in -progress—and Rembrandt delivers the lesson. We are invited to speculate, not only on the subject of the artist’s painting, but also on the artist’s role as a conduit and filter for ideas and concepts, facts and visions. The physical painting is a portrait. What I find more compelling, however, is the promise of the painting Rembrandt conceals from us. The Painter in His Studio has always held meaning for me as the artist’s comment on the synergy between subject and artist—between the viewer and the viewed. “Studio” serves as a metaphor for what I see as the process and –just as importantly—the promise of a painted work.”

Herrmann’s paintings are nothing sort of being aesthetically inviting. He uses color and shape to create an abstract, layered space that not only suggest a narrative, but creates such depth that the viewer may almost feel that they can walk into the work. When looking at his paintings, the viewer’s eyes will be stimulated by multiple outstanding main aspects. Being influenced by oceanic art, Herrmann will utilize simple pattern, line, and color theory to create a depth that feels real. Conflicting shades and shapes have an ironic harmony that truly completes his paintings.

"Yupmakcain Terrain IV" dimensions: 84"h x 78"w material: acrylic, Mimika, Yamate shield rubbings on canvas

“Yupmakcain Terrain IV”
dimensions: 84″h x 78″w
material: acrylic, Mimika, Yamate shield rubbings on canvas

dimensions: 72"h x 58"w material: acrylic on canvas

“Nohunta” dimensions: 72″h x 58″w
material: acrylic on canvas

dimensions: 8h x 5.5w material: drawing

“Motif Sky 13” dimensions: 8h x 5.5w
material: drawing

dimensions: 84"h x 80"w material: acrylic on canvas

“Thinking: Fertile Map” dimensions: 84″h x 80″w
material: acrylic on canvas

Kevin Muente

Kevin Muente

“Dry Creek Bed, Kentucky” by Kevin Muente, oil on canvas 48″h x 96″w

Kevin Muente is professor of art at Northern Kentucky University. He received his BFA in drawing and painting from the University of Wisconsin-Milwaukee in 1994 and his MFA in painting from the University of Cincinnati in 1999. While working for nationally-known mural artist Timothy Haglund, he assisted in the production of murals at the Hyatt Regency in Milwaukee, the Johnson Wax Worldwide Headquarters in Racine, Wisconsin, and at several private residences.

Muente has exhibited his paintings in various national juried competitions and is currently represented by Richard J. Demato Fine Arts Gallery in Sag Harbor, New York; Heike Pickett Gallery in Versailles, Kentucky; and Gross McCleaf Gallery in Philadelphia, Pennsylvania. He has garnered several awards and honors including the Kentucky Arts Council’s Al Smith Individual Artist Fellowship, a Cincinnati Summer fair Aid to Individual Artist Grant, and Artist Residencies at Denali National Park and Preserve in Alaska and Rocky Mountain National Park in Colorado. Muente has previously taught at the Milwaukee Art Museum and Missouri Western State College.

Biography courtesy of http://www.kevinmuente.com/