Review | If there was a prota...

Generated on 2023-12-19 21:09:09

Result #1

If there was a protagonist to these paintings it would be colour. I prefer to choose mainly 6 colours, primary colours and their complementaries, and this is because I try to create extreme contrast in order for the eye of the spectator to rush inside the painting and never stop, Jantus says. These combinations are sometimes inspired by his love of comic-books, abstracting from a certain character and seeing each colour as a kind of personality to be worked with. All his compositions give a sense of vibrant energy that becomes stronger with the progression from the first live-work, which is a little timid, shying away from the fringe of the canvas and leaving a surrounding white space, to the more recent ones, soaked and coated to the edges of the canvas as if willing to overspill and take over the rest of the room. . Jantus shows that the best paintings are those that are the most emotional, that are the most conscious of their potential and that are the most formal in their application. He states, The final image is the most powerful image. The most important thing in painting is not to make the final image but to create the final image and that is what Jantus does. It is a deeply personal, even spiritual, process.Jantus work is the result of a collaboration with two friends from the Basque country, María Elena Galáns and Pablo Martin. Although they are not Basques, they have always been interested in painting, and they now paint on canvas, and the work is based on a very personal, even spiritual, vision of the world. For example, the composition of this show was based on an abstract painting by the two brothers, and the choice of color was based on the works of Jantus, who was fascinated by the color of the sky. The paintings on canvas are based on the same abstract vision but based on the colors of the sky, and the sky is always white, blue, green, purple, or red. The painting is titled, after Jantus, La mala no se (The moon no day), and the sky is divided into three sections: the first, the second, and the third. The sky is divided into seven equal sections, which are painted in a different color scheme. These sections are painted in a uniform, white, blue, and gray. The colors are always subtle and often vary from one section to the next. The sky is not only a structure but also a collection of individual elements, a collection of colors, and a collection of light. Jantus uses white, blue, and gray as the primary colors and the sky a collection of colors, and the colors are always used as the basis for the composition. The sky is never divided into discrete areas, and each color is a separate color.

Result #2

If there was a protagonist to these paintings it would be colour. I prefer to choose mainly 6 colours, primary colours and their complementaries, and this is because I try to create extreme contrast in order for the eye of the spectator to rush inside the painting and never stop, Jantus says. These combinations are sometimes inspired by his love of comic-books, abstracting from a certain character and seeing each colour as a kind of personality to be worked with. All his compositions give a sense of vibrant energy that becomes stronger with the progression from the first live-work, which is a little timid, shying away from the fringe of the canvas and leaving a surrounding white space, to the more recent ones, soaked and coated to the edges of the canvas as if willing to overspill and take over the rest of the room. . Dichotomy and reorientation, he says, are a method of creating a new way of looking and a new way of thinking. These are not the kinds of things one might expect to find in a painting by a man who has never been exposed to art history, or who has never had the chance to see it through to the end. For him, art history is a series of experiences, not a series of paintings, and he does not regard them as having any significance beyond the artists. Jantus paints a kind of texture that he finds in his own skin, and it is this texture that he applies to his canvases. The paint is applied in a way that he finds in his skin, but his work is not made with paint, and it is the texture of paint that gives the paintings their physical presence. The texture is a kind of material, a kind of substance that he can use, and this texture is always subtle. The paint is applied in a way that he finds in his skin, but his work is not made with paint, and it is the texture of paint that gives the paintings their physical presence. The texture is a kind of material, a kind of substance that he can use, and this texture is always subtle. The paint is applied in a way that he finds in his skin, but his work is not made with paint, and it is the texture of paint that gives the paintings their physical presence. The texture is a kind of material, a kind of substance that he can use, and this texture is always subtle. The paint is applied in a way that he finds in his skin, but his work is not made with paint, and it is the texture of paint that gives the paintings their physical presence. The texture is a kind of material, a kind of substance that he can use, and this texture is always subtle.

Result #3

If there was a protagonist to these paintings it would be colour. I prefer to choose mainly 6 colours, primary colours and their complementaries, and this is because I try to create extreme contrast in order for the eye of the spectator to rush inside the painting and never stop, Jantus says. These combinations are sometimes inspired by his love of comic-books, abstracting from a certain character and seeing each colour as a kind of personality to be worked with. All his compositions give a sense of vibrant energy that becomes stronger with the progression from the first live-work, which is a little timid, shying away from the fringe of the canvas and leaving a surrounding white space, to the more recent ones, soaked and coated to the edges of the canvas as if willing to overspill and take over the rest of the room. . Jantus paints the painting by dipping the canvas in paint, which he then covers with a layer of spray paint, then applying a layer of resin. The resin is poured onto the canvas, then the paint is scraped off with a paint brush. The result is a picture with a lot of action, a lot of color, and a lot of energy. Jantus paints his colors in a wide variety of hues, including oranges, reds, purples, greens, and blues, and the paint itself is applied in a variety of colors, with a bright, rich, and deep hues. The paint is applied with a wet-on-wet process that gives it a shiny, shiny finish. The paint is then scraped off and left to dry, then the paint is rinsed, the resin is poured on and the final painting is on display. It is a process that takes several months, and Jantus is able to work with it as he likes.Jantus paint has a luminous, sometimes iridescent quality that is not unlike that of the most precious things. The paintings are composed of black and white and have a light, airy quality. The colors are not vibrant, but are more muted than vibrant, not fiery, but dark. Jantus colors are not as bright as the colors he uses in his paintings, but they are deep and dark, rich and monochromatic. His colors are dense, but not dense in the way that a great deal of painting usually is. His colors are soft and delicate, but not overbearing.Jantus paints his colors in a wide variety of hues, including oranges, reds, purples, greens, blues, and blues, and the paint itself is applied in a variety of colors, with a bright, rich, and deep hues.

Result #4

If there was a protagonist to these paintings it would be colour. I prefer to choose mainly 6 colours, primary colours and their complementaries, and this is because I try to create extreme contrast in order for the eye of the spectator to rush inside the painting and never stop, Jantus says. These combinations are sometimes inspired by his love of comic-books, abstracting from a certain character and seeing each colour as a kind of personality to be worked with. All his compositions give a sense of vibrant energy that becomes stronger with the progression from the first live-work, which is a little timid, shying away from the fringe of the canvas and leaving a surrounding white space, to the more recent ones, soaked and coated to the edges of the canvas as if willing to overspill and take over the rest of the room. . The color of Jantus paintings is a mixture of blues, greens, purples, and reds, which in this show are almost as rich as the primary colors. Although they are painted on a board, the colors are not covered with any kind of paint, and the paint is not applied on a paper. They are painted on canvas, which is used for the process of painting. The colors are applied in a thin, airy line that takes on a bold, dramatic presence when the paint is applied to the surface. These paintings are not just about the paint, but about the surface as well. In Jantus works there is no haze, and the paint, applied in a thin, linear line, is not applied with any sort of brushstroke or streak. The paint is applied in a uniform, opaque, and almost transparent manner. The paint is applied with a brushstroke that is applied in a continuous, almost continuous, motion. The painting is a kind of transparent, but not transparent, field that can be viewed from any angle. These paintings have a sense of depth and depth of field, as if the depth of field were a surface, but the depth of the paint is not a depth, but a depth of depth. The paint is applied in a continuous, almost continuous, motion. The paint is applied with a brushstroke that is applied in a continuous, almost continuous, motion. The paint is applied in a continuous, almost continuous, motion. The paint is applied in a continuous, almost continuous, motion. The paint is applied in a continuous, almost continuous, motion. The paint is applied in a continuous, almost continuous, motion. The paint is applied in a continuous, almost continuous, motion. The paint is applied in a continuous, almost continuous, motion. The paint is applied in a continuous, almost continuous, motion. The paint is applied in a continuous, almost continuous, motion.

Result #5

Jantus is a painter of light, not of dark, and his paintings are rich with rich colours. His palette is bright and colorful, and his technique is not at all affected by the use of a single material. The paint is applied in a completely loose and easy way, and there is no hint of staining. The colors are applied in a clear, concentrated way, and the lines are clearly defined and cleanly drawn. Jantus paints with a kind of crude palette, but the painterly sense of the colors is deeper and richer than any other in the show. He is not afraid to use a range of rich, colorful hues, even his most obscure ones. His palette is as rich as the paintings, but it is his technique that is most interesting. In his colors Jantus paints in the same way that a good painter uses the same color in a different way. His colors are intense, colorful, rich, and vibrant. His lines are drawn with a brilliant, full, and detailed precision that is absolutely perfect. The paint-work is no more than an extension of the painterly intent.Jantus paints in a way that is very personal and that is open to the possibility of interpretation. He is a painter who doesnt try to take a position in the world, but rather creates a personal expression. He doesnt try to be in the mainstream, but rather is a painter who tries to look for his own way of being. His work is not a representation of anything, but a search for the essence of being.