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NEW LINE

New Line

Antonio Pessoa
New Line
 

Oh, my God! He did it again! He walks again along the boulevard of contemporary art's cutting edge, bouncing with vigorous invention, far beyond the bounds of expected reasonable possibilities, now coming up with this astonishing autogenesis, charming and wonderfully absurd, screaming colors disturbing the standardized patterns of the on-going tendencies, resembling some sort of special effects sensational circus number, a striking explosion of raging artistic headlines, whatever, shockwaves of hiper chromatic flash, loud and sustained, shrill and piercing, animated gifts switching to moving thingies, or so it seems, downright overwhelming for any tolerant viewer's eyes, like mustard mix with reddish and a whole lot of stripes! Narrative powders, striking impressions all over this tempting flavors shocking shimmery festival! Should the present approach be viewed as a first step towards obtaining universal recognition or must this be interpreted as the historic golden keys to open the doors to the seven templates before divine madness? Antonio Pessoa's maddening prodigy of composition, promising artistic isotopic lunacy, colors entering the canvas like a visual adaptation on some Stanley Kubrick conceptual orgy, or a Steven Spielberg script digitized and reconstructed in a indelibly haunting endlessly fascinating gallery of adhesive transitions, gorgeous enigmatic sentences projecting a strong imperative impact where the required invisible final touch seems long gone to have turned into an intoxicating encore of purposefully passionate variations of wild art action super color magic velocity. Cognitive materials at every crossroad continue as if it has always been there without even the grinding artistic percussion, building up to break down, enter and exit in such a general contrasting visual effect only an artist like Pessoa could possibly come up with. Too much of too much, indeed! Lovely. Antonio Pessoa does it in such a unique way that as far as I am concerned, New Line seems to have no links with any contemporary art current references whatsoever. Daring and new the artist once again proves to be the unquestionable cutting edge of today's art scene. A free man and an independent eccentric art maker, ecclectic in his glamorous lifestyle and proud of his wealthy creativity, provides us systematically with artistic real-time news, as in New Line, more unusual than ever, the pretty boy of today's big time art collectors, invisible to the average citizen yet a growing public phenomenon, Pessoa claims a new area of emotion- oriented fine art, in which the resulting visual effects link him to the top conceptual creators of the new age by laying out the notion that the possibility to accomplish the impossible is merely the beginning of a long-term artistic strategic context and most importantly an artistic wide range communicative attitude. The overpricing of initial art dealers offerings this year, has developed a new somewhat unexpected information concerning Antonio Pessoa's latest oeuvre. His nineties Romantic Period artworks adjustment was therefore inevitable, creating the proper balance, moreover extraordinary results not only in the artist's finantial status but on the whole improving his collaborators team working machine, plus a significant enthusiasm in public relations, spreading fast, as an interchange of fluent dynamics, that degree of global evaluation that appear to occur, very often creating conflicts and contradictions between Antonio Pessoa and the art market coverage areas and promotion campaign that in reality means little or nothing for the artist, at least from his private assumption and his personal outlook of the global context related to the art scene general and sometimes obscure outs and abouts. The hyperconfident Antonio Pessoa astounds with his ability to express directly to the viewers his artistic science, just to turn his back to the tedious art market oscillations, as a good chance and excellent excuse to go back to his studio comfort, exploring the sectors of life he enjoys the most. Despite Pessoa's latest artistic preferences and even model references such as Eugene Brands, represented by Elisabeth den Bieman Dehass, Jacques Bage, Arnold Niessen and Anne Vignal, their artworks available at Galerie Blom, Niklas Anderberg, Robert Brandy, Mario Morunti, plus the amazing Gerard Hendriks, if I'm not mistaken represented by Gallery Chicory...the artist however seems to be moving towards a much more advanced research of what contemporary art can, should be and indeed is, accomplishing its most dominant exuberance and distinguished innovation in the spontaneous cutting edge ideas such as New Line. Antonio Pessoa's sustainable artistic maturity and trajectory, despite being now and then eventually favored at the expense of other artists, such as Chris Berens, Dorien Plaat, Richard Smeets, Joan Miró, Pollock, Harrie Gerritz and Klaas Gubbels, on the whole he is essentially far more original by embracing a awesome new way of art expression where the dominant theme and nature is unquestionably his colors unrestrained movements, perhaps frequently with excessive exuberance, although wisely mitigated by his outstanding drawing skills and composition unique possibilities, another dominant significance highlighting the progress of his imagination grandeur and inevitably seeking to enforce the general public concept of what contemporary expression should be as part of today's world actions and reactions. The evaluation and significance of hyperchromatic New Line, should after all be left to the personal judgement of the viewer, like an overpigmented fine art atlas, a subjective document where the eye and perception increase their depth of focus and interpretation. If the artist's intention was indeed to create art-abstract with suggestive keywords or hidden messages or even, shall we say, top classified information, theoretically that could stand for a tricky way of harmless playful perversion, meant to inhibit the viewer diagnosis and in so doing forcing a further challenge to the brain cells or a double focused approach on the look out for a suitable meaning possibly present somewhere across the different components of such a nutritious composition. This balanced weighing up of evidence and meaningful content might be as well Antonio Pessoa's need of hope to challenge the viewer attempt to collect some self-reflection using the painting as a mirror, like a wall art made to test the viewer's capacity to exercise introspection or otherwise, to transcend the philosophical limits and thereby start questioning the artist's intentions, secret profile. What one can feel and do before this intense color traffic jam is one of the interesting adventures any art lover can come across, standing still in a crowded art show opening night, or at the home-sweet-home privacy as any serious art collector should. My educated intuition and viewpoint whisper in my ear that very probably, knowing the artist as I actually do, that the law of attraction - even dismissed the ultimate need for scientific proof - might as well be playing an interesting role as far as this masterpiece titled New Line is concerned. So it might happen that indeed Antonio Pessoa's dominant thought during the making of New Line, was actually telling him that he attracts into his oeuvre reputation whatever he thinks about. This subliminal message might have been the hypnotic motivation I know he has, that the wholesome of his latest and upcoming oeuvre should and must attract the New Line of art collectors. What do you know! For so very often without sharpness of edge or point Antonio Pessoa art expression can be as direct and outspoken, some other times the artist takes the opposite option, not led by any circumstances changes, but as a delicious solution for a specific artistic strategy, delivered free, nevertheless keeping for himself a whole great stock of valuable explanations and most importantly a relevant amount of private classified information. And that's as much out in the open the artist's inner self configuration manual goes. The artistic impact hides the undiscovered master of art fiction, a dimension of privacy not even celebrity interviews nor steady gossip manage to guess let alone figure out what's behind the New Line!

 

 

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