Assemblage, Collage, Exploration and Accumulation...
I find discards from man and nature and bring them to life in interesting and unusual compositions. I collect things from streets and alleys, flea markets and antique stores, and one of my favorite suppliers - construction demolition sights. Packing materials are another obsession of mine. So many of these materials are beautifully engineered, with such a short lifespan, then on to feed landfills.
I give life to found objects and linger over their playfulness with each other in my pieces. I like to evoke happiness and curiosity to my viewers. I never lose the delight in finding beauty in everyday objects and things regarded as just plain junk. I love the textures, colors and interesting juxtaposition of my found and recycled finds.... and the relationships they find with each other.
Over the years I have primarily painted floral images. But I also have explored abstraction, water imagery, and portraiture. I work only in oil paints. I enjoy exploring pattern, color and texture.
To put it simply, I make pretty things.
Earl Chuvarsky is a fifth generation Colorado native and trained artist who has been showing professionally since 2010 but has been creating for much, much, longer. Chuvarsky cut his teeth with an eight month stint in the heart of the Santa Fe Arts District of Denver before showing the majority of the year in various galleries across the country. Rooted deeply in traditional working methods while focusing on contemporary subject matter Chuvarsky's work concentrates on the continual examination of the placement of subjects within the picture plane, and the feeling it invokes.
Life is about growing. Each experience, situation, and phase of life offers a unique opportunity to reach our highest potential, turn towards our passions and discover what we can do to be better humans. How can we strive to be the best people we can be no matter our age, background and life experiences?
As I move and mix paint to add complexity and layers to my art, I am reminded of the complexity and layering we add to ourselves as we experience life. Through my work, I attempt to illustrate and document this beautiful process.
I like to begin my paintings with an under-painting that includes drips and many colors. This frees me to look for spontaneous shapes and color combinations that inspire and “talk” to me. I develop the painting by keeping the best parts and working the other areas until they too, are the best they can be.
I am interested in the ways that the art-making process reveals effective methods and tools for navigating the life-making process. The messages include and are not limited to: staying open to the unknown, staying with the ugly stages of a painting (and of life), being curious and exploratory, relishing in beauty and harmony, risking, and knowing when to stop.
My paintings emerge from an intuitive place, intermingling with my knowledge of color theory, composition, and painting techniques. Each piece is generated spontaneously, taking cues from my inner world and what I am drawn to in the moment. Finding flow is what my creative process is based in, while paying homage to painting "rules" that make a piece interesting to a viewers eye. As a painting progresses I am interested in the interplay of form and the harmony of colors, while staying true to the organic forming of shapes and textures. Play, experimentation, movement and curiosity guide my process.
I create what I consider “fire” paintings; these pieces are the aftermath between fire and canvas. These are based around ideas of the impermanence of man and the continuity of the world. Fire is one of the most powerful primal forces on this planet. Fire destroys as much as it creates; it gives life as easily as it can take it away. These pieces are meant to evoke feelings of transition; of the beginning and of the end. I want to envelop my paintings with the idea that I can create something beautiful out of such a destructive force. The images you are seeing are just the aftermath of the fire; an echo of the action that took place. Everything in this world is transitory; it will all come and go, leaving something new in its place.
When I paint using oils, it is fear that comes out, a fear of the unknown, of what will be waiting for me in the not-too-distant future. It is in these pieces that a dreamlike world becomes reality. This is a fear that comes from questioning my morals and beliefs, and one that hopes for something better, but knows it might never come.
My sculptures are an intuitive expression of an emotional state. Some of my most recent work results from my personal reaction to current events. I respond to my environment, be it nature or an urban setting, and to events that happen to me and outside of me. I record my emotion by making something, communicating through imagery and objects.
My sculptures are intuitive, organic, fluid; they speak for me in symbols, colors, texture and patterns. I choose clay as my medium because I like knowing that it is the earth's most primal element. I enjoy its tactile quality, the feel of it in my hands and the fact that I can mold it into any shape. I think of color as a voice. It resonates uniquely to each individual which influences how I use it. It is also why an individual responds to one sculpture and not another.
I am a mixed media artist trying to make an impact regarding social justice and simply trying to make the world a little bit more beautiful. I recently have been working on a series of oil paintings about immigration refugees and victims of wars called "Misplaced and Displaced People". I am also working on a fairly large installation called "Social Structure". It is a new improved version of my city out of clay. I will be showing this in May at Core.
Whether by nature or nurture, we all have a default mode. Pessimism came naturally to me. Pessimism is easy. Complaining and criticizing is easy. Expressing hope is almost rebellious. Even more challenging is to think hard and spend time finding possible solutions. I don't want it to make art that is dark and angsty. Creating art is uplifting experience. My art is always vibrant and energetic, even when speaking to difficult subjects - not as a way of glossing over but as a way of leading with hope and positivity.
I am interested in creating works that are ephemeral, unexpected and in particular interactive. My work employs a variety of media, incorporating both traditional materials such as paper and fabric, as well as more contemporary materials, including electronics and video or sound projections. I’m currently working with electronic components and microcontrollers to make kinetic objects with light and movement as well as exploring photography.
I consider myself as a Post Modernist with links to the Dada Movement and its focus on spontaneity and irreverence toward the more traditional art forms of painting and sculpture. Following the traditions of Dada, my work frequently utilizes intuitive processes and celebrates the whimsical and idiosyncratic aspects of human experience. For example, my motion-activated birds were inspired by my late mother, who decried the overpopulation of geese in her quiet neighborhood but still treasured a life sized bronze goose statue whom she called Bob.
I use layers of oil paint, impasto media, powdered pigments and beeswax to create artworks that meld abstraction with figurative & animal imagery. Working intuitively and influenced by fairy tales, religious mythologies, and Jungian archetypes, I try to make paintings that reflect the joy and the pain of being alive.
People are fascinating, as are the tattoos they choose. Their bodies have become the medium and the images tell a story. When viewed with the artist or painter’s eye you realize that the tattoo has significance to them much the same way that the images, colors and lines painted on a canvas having meaning to the artist. At one time, tattoos signified a “rebel” now “The Tattoo Man” has become “every man”.
My affinity for assemblage arose from the ability found objects have for immediacy of use along with individual inherent character. This character may be derived from it's design, color or patina formed from constant use or abandonment to elements, or it's mental associations with it’s original purpose. The story behind an object adds depth and weight, whether I choose to amplify it’s character or conversely, to alter or deconstruct it’s original purpose in order to fit my narrative.
The artistic alchemy of transforming seemingly worthless or obsolete elements into something of value and significance, has a noble intention independent from the ethical value of recycling. I highly manipulate the recombination of individual parts so they appear entirely integral to one another rather than serendipitous or haphazard.
Gestalt psychologist Koffka stated, “The whole is other than the sum of the parts” and this phenomena, uniquely human, allows us to see a story without the use of words. I’m fascinated by our compulsion to integrate pieces into a whole as well as our iconographical penchant for attaching meaning to them and it’s this dichotomous dancing on the fine line of acknowledging this need while defying it’s convention that motivates my art.
I love imagery and use the paint, in my collage paintings, as the vehicle to enhance rather than tell the story. The mystery, the unknown, the wonderment of what could, or might be, inhabits the territory of my imagination. The creatures populating my paintings are the tribes of nightmares and daydreams, depending on the twilight zone of your mind.
The mysterious and magical elements of our lives can read like a novel or a grocery list. I use those items, tweak them and fabricate small reliquaries; artfully encasing these re-discovered objects to hold them, not as junk in time, but as small moments from an otherwise forgotten life. They are transformed into mini shrines and become recycled and redefined, into the lives of other collectors.
My recent abstract expressionist work is based upon my perceived awareness of the natural environment. In my studio I’m trying to recapture the subtle mystery or “numinosity” of nature on a 2 dimensional piece of birch panel.
I use many layers of oil paint, wax, graphite, oil stick and pigment By scratching a texture or expressive line into the medium with different tools, the layers are revealed!