Featured below images aren’t photos these art works lie somewhere between hyper realistic painting and sculpture. Singapore-based artist Keng Lye meticulously produces these three-dimensional works of art with acrylics and epoxy resin. Using a technique originated by Riusuke Fukahori, Lye manages to produce the illusion of different animals swimming in water. The time-consuming process involves pouring resin into a bowl and then painting on top of it with acrylics, layer by layer.
Nikolai Shurygin's works are in private collections, located in Russia, Italy, USA, Germany, Libya, Saudi Arabia and Petropavlovsk-Kamchatsky local museum (Russia). During 10 years the painter has been studying multilayered painting which secrets were lost in the beginning of XIX. This unique technique was used by flemish painters as well as russian painters such Kiprensky, Levitsky, Borovikovsky and many others. The uniqueness of the technique consists in the point that every layer of paint is visible through the layer above. Using this technique the artists achieved the incredible realism of depicted subject whether a human face or any texture - silver, gold, brocade, fur, glass, etc. The term of producing a portrait or a still-life in this technique is from 4 to 12 months. Due to the complicated process of the painting the artist's exhibition activity is not frequent.
Yes, these are paintings. Oil paintings. Seriously, I wouldn’t lie to you. When someone gave five-year-old Tigran Tsitoghdzyan his first set of oil paints, I’ll bet they never imagined THIS would be the result.
Discovered at the age of ten by Henrik Iguitian, director of the Modern Art Museum and Children’s Art Museum in Tigran’s hometown of Yerevan, Armenia, Tigran’s first solo exhibition was organized, in which he showed over a hundred pieces. The exhibition then moved onto Spain and the US. Since then, his career has been on overdrive with numerous international exhibitions and awards, artist residencies in England and South Africa, as well as achievement of a Master of Art in Public Spheres (MAPS) degree from the prestigious Ecole Cantonale d’Art du Valais (ECAV) in Switzerland.
Tjalf Sparnaay's paintings hit the retina like bolts of lightning in a clear blue sky. No other painter confronts us quite so clearly with ordinary objects that we hold dear.
Since 1987, he has been working on his imposing oeuvre, constantly seeking new images that have never been painted before. What he calls Megarealism is part of the contemporary global art movement of Hyperrealism, and Sparnaay is now considered one of the most important painters working in that style.
Upon visiting a cool landmark or iconic building, most people would just take a picture. Nathan Walsh, however, is not most people. In fact, he’s gone to great lengths to prove he’s one of a kind, a certifiable genius in his field. His hyperrealistic paintings of urban landscapes capture moments in time in a manner so exact, so precise, they invite the viewer to really study each image to find evidence that they are not, in fact, photographs. From shadows to reflections on glass to the perfect lines and intricate contours, Walsh’s work brings out the detail we might otherwise overlook in the hustle and bustle of everyday life. His skill is unmatched and sure to induce disbelief in the most ardent of hyperrealist fans.
My paintings are about staging an alternate reality, the illusion of verisimilitude on the painted surface, filtered so that it expresses my unique vision. Though my paintings may appear photoreal my goal is not to reproduce or document faithfully what I see one hundred percent, but also to create the illusion of depth and sense of presence not found in photographs.
Many of my paintings are about the relationship of light with reflective and transparent surfaces and my journey to understand those qualities and convey my sense of wonder and intrigue over them. In all of my paintings the subject matter is a springboard and a means to explore my ability to communicate something unique to the viewer. I use colours and composition intuitively with the intent of imbuing my paintings with emotion, mood and mystery. Throughout, I try to remain open to new ideas as the painting unfolds.
Watercolor is considered the most difficult painting media because of technique, control and time factors. But in the marketplace, usually watercolors are less expensive than oil paintings. Oil paintings have a higher prestige value and many of the old masters only painted in oil. What makes an old oil painting valuable? What is the main consideration?
