Adam Zar

Adam Zaremba It comes from a noble family Zaremba . He is nationality  ( British- Polish , born 12/11/1976) Poland Stolp Pomerania .Adam Zaremba is a multi talented artist , most visual  artist, working in various mediums to achieve a contemporary expression of his creative vision. Adam s art is based on his philosophy supported life experiences, being, existence, problems of the world. Adam creating works wishes to give a moment of reflection, reflect, stop for a few moments and thoughts recess. Great combination of Cubism – Visual art with Abstraction in his works fully illustrates what is time and short life people. The artist mainly based on the combined abstraction with visuals arts reference with the realism, based on awhole universe, beliefs, mysticism, mythology, the human problems of the past – the last time. 3 edition Anamorphic landscapes is well connected to the technique of the old masters, especially https://en.wikipedia.org/wiki/Anamorphosis
color based on the Baroque era with Contemporary art. Adam is the first creator of abstract art that combined the style ofAnamorphic. An example is the picture ” Demon Anamorpic “. This painting a picture I added an admixture of a new style of abstraction with Anamorphosis. .
https://en.wikipedia.org/wiki/Anamorphosis. I think it was not yet in play. And there is an admixture Richter with my style. The first image Abstraction Connected Anamorphosis. If you look at the human face angle you see if you look at the image in front of the demon’s face and vice versa, depending on your location. The main message of his work are the basic rules:
transience, stopping rush, reflection, recess recipient in his art to capture the imagination recipient, religion mysticism, ecology, racism, perdition, warning humanity tending to fall.
In Adam’s  abstract art is personal emotion. The painting’s many layers, strokes, and scrapes of color may thus appear as “beautiful” as anything found in nature.

© 2017 Adam Zar

Adam began to paint as a early childhood, he studied painting under the tutelage of renowned painter and conservator ofmonuments stepfather, mother of Adam Wladyslaw Remian, who worked with Maria Zaborowska. Wladyslaw Remian was a painter of realism and also a friend of Otto Freundlich, who was also a friend of Pabblo Picasso. Adam’s early drawings depict typicallandscapes, later, Adam fascinated by abstraction began to follow in this direction. . Adam has produced abstract as well as own imagination. His art follows the examples of Picasso and Otto Freundlich in undermining the concept of the artist’s obligation to maintain a single cohesive style.Nearly all of Adam’s work demonstrates both illusionistic space that seems natural and the physical activity and material of painting—as mutual interferences. For Adam, reality is the combination of new attempts to understand—to represent; in his case, to paint—the world surrounding us. Adam’s opinions and perspectives on his own art, and that of the larger art market and various artistic movements, are compiled in a chronological record of “Writings” and Interviews. The following quotes are excerpts from the compilation:”My art has an impact on its recipient and stimulates the imagination”;”My art is to move the emotions and the impact on its recipient”.Adam’s abstract work and its illusion of space developed out of his planning process: an accumulation of spontaneous, reactive gestures of adding, moving, and subtracting paint. Despite unnatural palettes, spaceless sheets of color, and obvious trails of the artist’s tools, the abstract pictures often act like windows through which we see the landscape outside. As in his representational paintings, there is an equalization of illusion and paint. In those paintings, he reduces worldly images to mere incidents of Art. Similarly, in his abstract pictures, Adam exalts spontaneous, intuitive mark-making to a level of spatial logic and believability. Adam uses an infinite number of colors, which selects the plan. Each color was then plan ordered to create the resultant composition and form of the painting.His technique is based on superimposing layers of oil paint using only brush.Adam would often blur his subjects and embrace chance effects in his own painting process in order to show the impossibility of any artist conveying the full truth of a subject in its original condition. Such means for suggesting that something essential to the model has been “lost in translation” often leads a viewer’s attention to the oil pigments dense, material nature, thereby demonstrating both its expressive strengths and shortcomings.In Adam’s  abstract art is personal emotion. The painting’s many layers, strokes, and scrapes of color may thus appear as “beautiful” as anything found in nature.Adam’s paintings  are expressive coloured masses evaluated independently from forms and lines; these serve no longer to delimit them, but overlap freely to form paintings of extraordinary force. Music was important to the birth of abstract art, since music is abstract by nature—it does not try to represent the exterior world, but expresses in an immediate way the inner feelings of the soul.
Colours on the painter’s palette evoke a double effect: a purely physical effect on the eye which is charmed by the beauty of colours, similar to the joyful impression when we eat a delicacy. This effect can be much deeper, however, causing a vibration of the soul or an “inner resonance”—a spiritual effect in which the colour touches the soul itself.
“Inner necessity” is, for Adam, the principle of art and the foundation of forms and the harmony of colours. He defines it as the principle of efficient contact of the form with the human soul. Every form is the delimitation of a surface by another one; it possesses an inner content, the effect it produces on one who looks at it attentively. This inner necessity is the right of the artist to unlimited freedom, but this freedom becomes licence if it is not founded on such a necessity.Art is born from the inner necessity of the artist in an enigmatic, mystical way through which it acquires an autonomous life; it becomes an independent subject, animated by a spiritual breath.

© 2017 Adam Zar

The obvious properties we can see when we look at an isolated colour and let it act alone; on one side is the warmth or coldness of the colour tone, and on the other side is the clarity or obscurity of that tone. Warmth is a tendency towards yellow, and coldness a tendency towards blue; yellow and blue form the first great, dynamic contrast. Yellow has an eccentric movement and blue a concentric movement; a yellow surface seems to move closer to us, while a blue surface seems to move away. Yellow is a typically terrestrial colour, whose violence can be painful and aggressive. Blue is a celestial colour, evoking a deep calm.The combination of blue and yellow yields total immobility and calm, which is green.
Clarity is a tendency towards white, and obscurity is a tendency towards black. White and black form the second great contrast, which is static. White is a deep, absolute silence, full of possibility. Black is nothingness without possibility, an eternal silence without hope, and corresponds with death. Any other colour resonates strongly on its neighbors. The mixing of white with black leads to gray, which possesses no active force and whose tonality is near that of green. Gray corresponds to immobility without hope; it tends to despair when it becomes dark, regaining little hope when it lightens.
Red is a warm colour, lively and agitated; it is forceful, a movement in itself.Mixed with black it becomes brown, a hard colour. Mixed with yellow, it gains in warmth and becomes orange, which imparts an irradiating movement on its surroundings.When red is mixed with blue it moves away from man to become purple, which is a cool red. Red and green form the third great contrast, and orange and purple the fourth.Each part of the basic plane possesses an affective colouration; this influences the tonality of the pictorial elements which will be drawn on it, and contributes to the richness of the composition resulting from their juxtaposition on the canvas. The above of the basic plane corresponds with looseness and to lightness, while the below evokes condensation and heaviness. The painter’s job is to listen and know these effects to produce paintings which are not just the effect of a random process, but the fruit of authentic work and the result of an effort towards inner beauty. Adam Zaremba received in 2014 with a reconciliation of curators and directors pseudo Zar.
Adam Zaremba is a well known global artist. His paintings have collectors from all over the world, including celebrities business and showbiz. Adam Zaremba always signs his paintings full name, Zaremba. Signatures are used mostly on the back of the canvas. the reason for this is not corruption appearance of the image, also believes the signature can distract the recipient in the picture as to the content and feelings. Adam Zaremba “Zar” is an artist who focuses on a wide range of colors and looking for new colors, as suited to the composition. Adam always creates, creates out of his own imagination. Adam loves to create images different from each other styles and image. Adam is the creator of your own style of forward-looking widescreen name Panoramic Abstract Landscapes. His quote ” For me in Contemporary art each painting is unique and impossible to be copied. Art is like handwriting, each has a different handwriting, so art is music, speech and writing.

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