FTN-blog

Rity Jansen Heijtmajer engages in the movement of forms in space. This Amsterdam-based artist seeks to align herself with the classical constructivists through her reduced visual language. She was shaped by her studies at the Gerrit Rietveld Academy in Amsterdam, which she completed in the 1960s alongside other academic pursuits. Various grants gave her the courage to consistently develop her style and enabled her participation in exhibitions in the Netherlands and abroad.

Typically, Rity Jansen Heijtmajer opts for a square image format for her compositions, consisting of geometric color planes and shape elements. She requires minimal visual techniques and a limited color palette: dividing a square in half or quarters, mirroring a triangle along an axis or point, gradually reducing a rectangle to a square, and using complementary colors or varying shades within a single hue. In her acrylic paintings, she creates dynamics by alternating the role of the form as foreground or background and by incorporating transparency in the layers. To enliven the image, the artist does not hesitate to occasionally crop a geometric shape along the edge of the painting or slightly offset it. This approach provokes the viewer’s sense of harmony and stimulates their involvement with the piece.

www.ftn-books.com has now an original screen print by Jansen Hejtmejer available.

James Hugonin, a renowned painter and educator hailing from Barnard Castle in County Durham, began his artistic journey at the prestigious Winchester School of Art, West Surrey College of Art and Design in Farnham, and finally at Chelsea School of Art. He eventually went on to teach at Chelsea and other esteemed institutions in the northeast of England. Hugonin was a part of the renowned Newcastle Group of artists and was featured in the South Bank Centre’s touring exhibition, titled “The Presence of Painting,” in the years 1988-1989. Notable solo exhibitions of his work include showcases at Galerie Brigitte Hilger in Aachen in 1983, Graeme Murray Gallery and Bede Gallery in 1985, and Galerie Hoffman in Friedberg in 1987.

Hugonin’s artistic style deviated from the prevalent free and gestural painting that surrounded him during his time at art school in the 1970s. He strived to strike a balance between complexity and simplicity in his work, resulting in a textured and rhythmic visual representation that could be likened to music. His pieces exuded a Zen-like tranquility that left a lasting impact on the viewer. However, due to his meticulous approach to his craft, Hugonin was known to complete only one painting per year. This was evident in the minimalistic display of his work spanning three years at the Ingleby Gallery in Edinburgh in 2002.

In 2006, Hugonin curated an exhibition titled “James Hugonin and Ian Stephenson: And our eyes scan Time” at the Baltic Centre for Contemporary Art. The show featured twelve of Hugonin’s paintings from the years 1992 to 2005, showcased in a single room, while the rest of the gallery was dedicated to the work of his teacher and lifelong inspiration, Ian Stephenson. The Arts Council holds a collection of Hugonin’s work. The artist lived in the serene and secluded Cheviot Hills in Wooler, Northumberland, with his wife, Sarah Hugonin, who was also an accomplished artist.

www.ftn-books.com has now a Hugonin print available.

A producer of systematic artworks and sculptures, hailing from the city of London. In the year 1977, he created a sequence of sculptures that were sponsored by the Southern Arts Council. Bell’s fascination lay in the organization of elements, specifically the correlation between colors, its syntax, and manifestation evident in the act of producing paintings and supporting literature. In addition to participating in collaborative theorizing, Bell made contributions to noteworthy shows including the 1979 exhibition of Künstlerbücher held at Galerie Lydia Megert in Switzerland; The House Construction Show at House in 1981; Colour Presentations presented at Gardner Centre Gallery, Sussex University with a tour in 1986; and Complexions at Galerie L’Idee in Zoetermeer, Netherlands, and at Dean Clough, Halifax in 1989. The Arts Council is a repository of Bell’s artistic creations.

www.ftn-books.com has now a Bell print available for sale.

Ian Tyson, a distinguished professor, painter, printmaker, and book artist, was born in Wallasey, Cheshire, England in 1933. Raised in Upton, outside of Birkenhead, Tyson spent his early years with his grandparents near Wigan during the tumultuous World War II. With graduation under his belt, he ventured into the shipyards as an apprentice engineer, but soon realized his true calling was in creating art independently. Eager to hone his craft, he pursued further studies at the prestigious Birkenhead School of Art and the renowned Royal Academy Schools in London.

Expanding his horizons, Tyson taught drawing and printmaking at the esteemed Farnham School of Art from 1959 to 1966, and the renowned St. Martin’s School of Art from 1964 to 1984. He also shared his knowledge as a visiting professor at the Royal College of Art, the University of Wisconsin at Madison, and the University of California at San Diego. He was also honored as a Brinkley Fellow at the esteemed Norwich School of Art in England.

In 1961, Tyson’s first solo show was displayed at the Ashgate Gallery in Farnham, and his exceptional talent was recognized with first prize at the Welsh Arts Council St. David’s exhibition in 1964. He has since exhibited in over fourteen solo shows and thirty group exhibitions all across Europe. His contributions to the book arts are commendable, encompassing graphics, design, publishing, and typography. To bridge contemporary art and literature, Tyson established the renowned Tetrad Press (1970-1995). His quest began with poetry, collaborating with numerous esteemed poets on multiple publications. The unparalleled Ian Tyson Collection at the revered British Library is the most extensive public collection of books pertaining to Tyson’s work in Europe. The Ian Tyson Collection at the University of California at San Diego also houses numerous production materials by Tyson and prominent poets.

www.ftn-books.com has now a fantastic Tyson print available.

I have worked in many varied fields within the arts for fifty years as a performer, teacher, theatre designer, prop maker, production and project advisor, gallery director and curator and workshop coordinator.

My life long interest in making from salvaged elements has its roots in post war Britain, a time of austerity and uncertainty. My parents were politically and socially conscious, northern working class people and highly creative. They acquired skills out of necessity.

I trained as a dancer at the Ballet Rambert School under Dame Marie Rambert, dancing with her company in the sixties and, later, performing for other companies in Europe.

In 1967 I married dancer-choreographer Christopher Bruce.

My visual art studies began in 1975. I was privileged to be tutored by Prunella Clough during my M.A degree in Printmaking at Wimbledon School of Art. Cutting and carving wood blocks lead me into carpentry and the three dimensional world eventually connected me with stage and costume design.

My practice is solitary and silent, similar in nature to the “Outsider” artists in its obsessive nature. Certain creators challenge and inform my making; their convictions sustain and support my intention to chart my own territory without constraint: they are, amongst others, Eva Hesse, Doris Salcedo, Michel Nedjar, Judith Scott, Miroslaw Balka, Louise Bourgeois and Ron Mueck.

Much of my visual art work has focused on the plight of the oppressed and the complex vulnerability of humanity, acknowledging the courage of damaged and desperate people in crisis worldwide.

Creative activity nurtures essential life enhancing attributes: curiosity, imagination, resourcefulness and independence – benefits which cannot be measured.

I invite a the viewer to engage, interpret and, hopefully, experience their own new perspectives.

www.ftn-books.com has now a relief print by Bruce for sale.

John Goodyear was an artist who was born in Los Angeles, California in the year 1930 and eventually settled in Grosse Ile, Michigan. He taught at the University of Michigan in Grand Rapids from 1956 to 1962. During this time, while painting his house, Goodyear conceived the idea of creating art in the third-dimension. This led to the creation of works that straddle the line between painting and sculpture, incorporating moving parts that invite the viewer to interact. In 1962, he was awarded a grant from the Graham Foundation, which allowed him to teach at the University of Massachusetts, Amherst for two years.

While at UMass, Goodyear prepared a collection of works for the grant, which would later become his first solo exhibition at the Amel Gallery in New York in 1964. These three-dimensional paintings featured suspended open grids with canvases adorned with patterns. These kinetic constructions quickly gained recognition from prestigious museums, including the Museum of Modern Art in New York, the Albright-Knox Gallery in Buffalo, and the Walker Art Center in Minneapolis, all in 1965. In 1966, Goodyear was featured in three separate exhibitions at the Whitney Museum of American Art in New York.

www.ftn-books.com has now a Godyear screen print for sale.

David Rubello’s art captures the marvel of human perception. Almost every piece he creates conveys his underlying theme, encapsulated in the title of one of his silkscreens: “Poetry of Space.” However, this notion is coupled with another concept, as seen in the title of a conceptual event he collaborated on with two other artists: “Paint, Space, and Energy.” The poetry within his space is dynamic, brimming with hermetic energy.

Each of Rubello’s paintings delves into the interplay between clear geometric planes and volumes within space. Viewers are often inclined to interpret these geometric shapes as “pictures” of three-dimensional sculptures. The poetry and energy within his compositions arise from the tension he creates between the potential three-dimensional existence and the optical illusions we perceive.

Furthermore, these compositions toy with “flippable” forms: geometric shapes that can be perceived in two distinct positions within space. Essentially, these figures can be seen as either advancing or receding. Due to our perspective processes, we cannot perceive these shapes as both simultaneously. Therefore, we must “flip” our perception between the two. Although we may be able to toggle between the two perspectives quickly, we can never see them simultaneously.

Through his masterful compositions, Rubello unlocks the gateway to a magical world of shapes and space, brought to life before our eyes. Immersing ourselves in his visual realm heightens our awareness of forms within space and rekindles our fascination with the processes of perception.

www.ftn-books.com has a mint Rubello screen print now available.

Elizabeth Willmott (1928­– ) is an artist, photographer, and writer. She is known for her written and visual contributions to The Structurist, an international art journal, and her painted relief artworks. Her art practice is rooted in Structurist theory and close observation of the natural world.

Structurism is a North American offshoot of Constructivism. Within this framework, Willmott is interested in creating artworks that are socially and politically engaged with the fundamental needs of our time. She achieves this by using her practice to merge nature and technology. Her painted relief works draw on their three-dimensionality to relate the artwork to the structures and processes of creation in the natural world. Overall, her work seeks to represent the structure and creativity of nature.

Willmott is a graduate of Oberlin College, Ohio. She also took courses in art and psychology at the Universities of Michigan and Saskatchewan. She spent much of her life living in Toronto, Ontario, where her husband, Donald Willmott, taught East Asian Studies at York University’s Glendon Campus. The couple now lives in Owen Sound, Ontario. Her work can be found in collections such as the University of Saskatchewan Art Collection, Saskatoon, and the Tom Thompson Art Gallery, Owen Sound, among others.

www.ftn-books.com has the BP collage now available.

Opy Zouni, the worldly renowned artist of Greek origin, was brought to the world in 1941, a Cairo native. Her roots stem from the mystifying regions of Crete and Santorini. In the bustling streets of Athens, she devoted her time and energy since the year 1963. Her sad demise occurred in 2008, leading to an irreplaceable loss in the world of art.

Opy Zouni’s pursuit of artistic excellence began in her hometown, when she enrolled in the esteemed Studio Zorian during the years 1959-1962. The artist delved into the realms of ceramics at the American College, nurtured her photography skills in Athens, and honed her painting expertise at the Athens School of Fine Arts under the tutelage of the renowned artist and professor, Yiannis Moralis. With more than 33 solo exhibitions and 37 group exhibitions to her credit, her masterpieces have been displayed in prestigious museums around the globe, as well as cherished in private collections.

The central theme that consumed her creative mind was the transition from two-dimensional art to three-dimensional art, a journey from confinement to liberation. Through the clever incorporation of geometric patterns, vibrant hues, and a touch of lyricism, she successfully captured the essence of light, shade, movement, and perspective. Her works transcend the vastness of space, accentuated by the conspicuous absence of human figures.

www.ftn-books.com has now a Zouni print from 1990 available ( mint condition).

The plastic researches of Claude Pasquer have long been referencing concrete art, with a consistent dedication to innovation.

In his contemplation of form and color, Claude Pasquer aligns himself with this tradition, where individual expression gives way to a system of rules and combinations, and the accidental nature of color, used to convey emotions, is replaced by the use of pure colors as the only substantial components capable of representing objective abstraction. Far from limiting the artist within the scope of their plastic work, the imposed framework of form and color, with its limited number, actually grants the freedom to explore a multitude of possible combinations and the rhythmic effects that result. Freed from subjectivity and the constant fluctuations of ego, Claude Pasquer is able to achieve a spiritual and universal dimension in their painting.

Claude Pasquer’s paintings, consistently precise and meticulous in their execution, are created with acrylic paint on a canvas that has been affixed to a wooden frame. Not only is the entire surface of the painting painted, but the edges, also known as the lateral borders of the panel, are also painted and therefore an integral part of the work, both in terms of the interplay of chromatic combinations and in its physical reality, adding a third dimension and projecting it into space.

www.ftn-books.com has a collage by Pasquer now available.