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Antoine Khanji
CAPSQ Exhibition, Montreal, Quebec
Bonjour Antoine
Voici la documentation, nous souhaitons votre participation
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Â
Mireille FORGET
Présidente fondatrice du CAPSQ (depuis 1984)
Peintre et historienne (B.A.) UQĂM
Commissaire des expositions nationales et internationales
Médaillée de l'Assemblée nationale de la République française
Médaillée de l'Assemblée nationale du Québec
C.P. 55 060 succursale place Montmorency
Laval, Québec, Canada, H7N 6G5
TĂ©l. : +1.450.667.7221
Sans frais au Canada: +1.866.682.0271
Courriel: [email protected]
Site Internet: www.capsq.qc.ca
Breezy Blues
Step into a world of boundless creativity and emotional depth with my latest artwork, "Breezy Blues". This abstract painting, created with acrylic on canvas, is a vibrant and dynamic exploration of color, texture, and movement.
As I embarked on this artistic journey, I was inspired by a dream of infinite possibilities. The process of creating this piece was truly unique, as I found myself immersed in a mixture of emotions that fueled my brushstrokes and guided my color choices.
"Breezy Blues" is a testament to the power of abstract expressionism to evoke deep emotions and connections. The energetic brushwork and bold palette of blues, yellows, and reds create a sense of movement and depth, inviting viewers to explore their own interpretations and emotional responses.
This painting is a celebration of the endless potential of art to inspire, uplift, and engage. It is a reminder of the importance of embracing spontaneity, experimentation, and the raw power of emotion in the creative process.
I invite you to immerse yourself in the world of "Breezy Blues" and discover the beauty and complexity of abstract expressionism. Allow yourself to be carried away by the dance of colors and textures, and let the painting ignite your own spirit of creativity and exploration.
Remember, art is a journey, and each piece is a stepping stone to greater depths of expression and mastery. Embrace the unpredictability and emotional resonance of abstract art, and let "Breezy Blues" inspire you to create your own masterpiece of the heart.
Peoples' Choice Award PleinAir Contest February 2024
Hello, Antoine!
Bravo! Your painting "A Day in Autumn" has been selected as the People's Choice Award winner of the February PleinAir Salon Art Competition.Â
Important details about your award:Â February Winners Page
Your Promotional Assets
The judging for the Annual Awards will begin in April once the awards for March are selected. Keep an eye on your inbox for more emails from me.Â
Sincerely,
Kari Stober
PleinAir Salon Manager
[email protected]
(970) 631-3637
PleinAirSalon.com
Up and coming female artists to pay attention to
One of the most exciting things about the contemporary art world is the new voices the genre elevates. And right now, there are some incredibly exciting female voices pushing the boundaries of their art forms.
Surprisingly, in the U.S. 70% of fine arts undergraduate degrees are earned by women, but, only 13.7% of living artists represented by galleries in Europe and North America are women - so it is important to lift up those female voices at every chance we can.
From inspiring new Canadian artists, to emerging artists in Shanghai and across the world, here are the contemporary artâs rising female stars you should be paying attention to in 2021 and beyondâŠ
Jasphy Zheng
Based between China and Brooklyn, Jasphy Zhengâs work pinpoints moments of our social environment through mixed media. Her first solo exhibition, âStories from the Roomâ, debuted at Japanâs CCA Kitakyushu and is now installed in Shanghaiâs Rockbund Museum. The participatory project is described as a âsculptural momentâ, and is made up of bronze sculptures, combined with a growing collation of pieces of first-person writing about peopleâs lived experiences during COVID lockdown, from contributors all over the world.
Find out more: http://jasphyzheng.com/
Stephanie Hier
Playful and eccentric, Toronto-born artistâs Stephanie Hierâs pieces juxtapose the classic with the modern, and line drawings with detailed paintings, creating art which is impossible to not be delighted by. Millennial and proud, itâs filled with internet culture references and has been compared to the work of Lewis Carroll, with Hier describing herself as âfalling down a rabbit holeâ when it comes to her time on the internet. You will feel the same once you begin scrolling through her pieces.
Find out more: http://www.stephaniehier.com/
Juno Calypso
Reimagining selfies for the fine art world, London-based artist Juno Calypsoâs self-portraits feature the artist dressed as her alter-ego: Joyce. Through this doppelganger, she examines themes of feminism and desire in a darkly comic, Barbie-pink, hyper-femininity in photography, film and installations.
Find out more: https://www.junocalypso.com/
Nika Fontaine
Nika Fontaineâs works are inspired by the idea of Ego as a construct, and the energies which shape us, with spiritual influences from Kabbalah, Hermetism, lucid dreaming, vipassana meditation, 12 steps fellowships, Kundalini yoga. Born in Montreal, Canada and now based in Berlin, Germany, she works in a range of media, from oil paintings, to metal reliefs and sculpture.
Find out more: http://www.nikafontaine.com/
P.S. Above painting by Elaine de Kooning, Brooklyn 1918 - Southampton, New York, 1989 - Bill at St. Mark's 1956 oil on canvas
If You Donât Value Your Work, Nobody Else Will Either
People are passion seekers. The only thing they love more than pursuing their own passion is watching others engaged in theirs.
The unfortunate reality for most of us is we do not follow our passion in life, or even know what it is. In some utopian fantasy, all humans find what makes them happy and spend a lifetime engaged in it - from collecting coins to baking cookies. But most of us instead find ourselves anchored to a daily repetition of activities we selected based on productivity and practicality instead of passion. Or perhaps even worse, we make no selection at all and fall into whatever random course of life the universe has in store for us.
Other People Can Sense Lack of Passion
Someone working on an assembly line putting together vacuum cleaners is probably not passionate about what they do; it is possible, but unlikely. In one way, it doesnât really matter - a person can hate assembling vacuum cleaners yet be excellent at what they do. But in another way it does matter - this unfortunate soul is wasting precious hours of their life doing something they donât enjoy. It makes no difference to their boss that they lack passion for what they do; they are judged simply on their ability to produce vacuums.
But this is much different for the artist. Art is not only a window into the soul of the artist, but a window into the observerâs as well. A great artist allows an observer to see what they see, to experience the same passion they feel. This is a subtle communication yet can have powerful effects. It is fascinating to see an artist completely immersed in their work, drawing from passion rather than practicality. However, this connection only exists when the artist is passionate about what they do and value their own work.
If You Donât Love What You Do, Find Something Else to Do
Artists often get trapped in a genre because it sells. All artists start out following their passion. At the beginning, the artist is on a whimsical journey following whatever path their creativity leads them. They create from the heart and it shows in their work. Then one day, one of their creations sells. The next move the artist makes can define the rest of their career: continue down the path of what sells or continue on their whimsical journey creating from the heart with no outside influence.
The Great Artists Have Discovered Creating from the Heart IS What Sells
Create art that has you beaming with pride, passion and value - and others will see it that way too. Creating art based only on what sells leads to the death of passion, the artist becomes nothing more than an assembly-line worker constructing a product. Create from the heart, and not only will you, the artist feels passionate and fulfilled, but so will your audience.
Art and Religion: From Intersection to Transcendence
The human experience cannot be adequately addressed or described without speaking of art and religion. Both have been born within and across all cultures from the beginning of human existence, despite not being necessary for basic survival, and both have played an unquestionable role in shaping our understanding of the world around us. Art and religion have each been used to explore all of the intriguing facets of who we are and what our purpose isâand in many cases, theyâve been combined in that exploration.
While the concept of art includes all of the images or processes that painters, architects, musicians, dancers, poets, or film makers create to discover themselves, their purpose, and their world, religion is a system of ceremonies, rituals, or beliefs that serve the exact same purpose. While separate principles, art and religion have also complemented each other across time. From the sacred geometry of Stonehenge and the pyramids, to the temples and cathedrals that reach to the sky with swirling spires, mosaics, and religious iconography, the intersection of religion and art is a common thread throughout humanityâs pursuit for higher ideals than what is required for basic survival.
In his 1976 study conducted for Marquette Universityâs Department of Philosophy entitled Art and Religion: A Trans-religious Approach, Curtis Carter notes the absolute integration of art and religion from humanityâs beginning:
âPrimitive cultures of the world provide a model of art and religion as inseparable elements of culture, where the two are integrally connected with each other and with the whole cultural process. As T. S. Eliot has noted, âThe Dyak who spends the better part of a season in shaping, carving, and painting his barque of the peculiar design required for the annual ritual of head-hunting is exercising several cultural activities at once-of art, religion, as well as of amphibious warfare.â African arts, particularly the dance, present a paradigm of unity between art and religionâŠ.. The unity that exists between African dance and religion extends to music, sculpture, masks, iconography, and poetry, all of which are replete with spiritual energy that manifests the essence of the sacred. Art and religion appear as coequal partners in such primitive communities, and there is no effort to subordinate âartistic formâ to âreligious content.ââ
From primitive to contemporary cultures
Carterâs deep-dive into this intersection continues with an exploration of how these forms of expression started to diverge in more modern paradigms, where philosophers such as Hegel see art as a predominantly sensual experience, rather than a spiritual one. He writes, âIn this state of disengagement from its religious grounds, art loses its highest vocation and exists in a state of rootless freedom where it can offer at its best an occasion for the exercise of the artistâs imagination and a means of diversion for its viewers.â
If Hegelâs interpretation is true, what, then, does this contemporary division between art and religion mean for artists? Are we to see the original and early connection between the two as a primitive association that no longer applies to a modern world? If so, then in what sense can artists reclaim the spiritual aspect of their work rather than relying on a solely sensual process? And for artists who donât consider themselves to be âreligious,â is there still a way to tap into the spirituality of art and the process of creating it without attaching it to one particular religion?
The future of spirituality in art
Just as religion once held influence over the sacred art that was inspired by it, some modern writers and philosophers have suggested that art has now become more important than religion. In an article published in The Journal of Aesthetic Education entitled Art and Religion, author Richard Shusterman writes:
âWhile Hegel once saw religion as superseding art in the evolution of Spirit toward higher forms that culminate in philosophical knowledge, subsequent artists of the nineteenth century instead saw art as superseding religion and even philosophy as the culmination of contemporary manâs spiritual quest. Artistic minds as different as Matthew Arnold, Oscar Wilde, and Stephan MallarmĂ© predicted that art would supplant traditional religion as the locus of the holy, of uplifting mystery and consoling meaning in our increasingly secular society dominated by what Wilde condemned as a âdreary worship of facts.â
Despite these seemingly shifting perspectives, in truth, there are multiple issues that still appear at the intersection of religion and art. Both have always had and still retain the capacity to inspire change and tackle some of the weightier concepts involved with what it means to be human. Whether that topic is our ecological future, war and poverty, overpopulation, technological advancement, discrimination, nuclear capability, or realizing the human potential, religion and art play still both play a pivotal role in understanding and positioning oneâs experience and impact as a member of a tribe.
Perhaps, through this lens, we can see that they are not so separate as they might seem in a modern world. Whether there is an overt connection or a more subtle influence, religionâor more specifically, spiritualityâis still an important part of the artistic process. Itâs the component that gives art the ability to transcend time and space and affect the artist and viewer separately in their own experience with the divine.
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