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陈列您的艺术作品给每天无数的访客观看
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| Neal Falanga | |
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Date and Place of Birth |
| 关于此艺术家 | |
Introduction |
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| 按此以放大图像 (假如你已上传更大的图像) | |
Ascent
1996 |
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| This ethereal work is the second in a series of four allegorical works executed on a historical scale, depicting a journey of the spirit. The bold, pure hues of the wings and the ground create a strength that gives context to the ephemeral figure. Radiant in its absolution, the most outstanding feature of this piece is the illuminated feet, seemingly rendered in light. |
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Guardian (Gates of Hell)
2006 |
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| This dynamic work is the third in a series of four allegorical works executed on a historical scale, depicting a journey of the spirit. The guardian is shown as a self-portrait of the artist, seated between figures in extreme obeisance, within the flames that burn but do not consume. The layers of metaphor are further deepened by employing the depravity of the obdurate, rendered in the sfumato style, as a foil to the stoic guardian who keeps shut the gates of Hell. |
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Revelation
2000 |
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| An allegorical work, the last in a series of four, executed on a historical scale, depicting a journey of the spirit; this piece expresses the moment of revelation when one in the depths of despair realizes the possibility of rising from the depths. Executed in the dramatic lighting style commonly attributed to Carravagio, the figure is sculpted in light and lines; but is defined by the sharpness of the shadows. |
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Azrael
2002 |
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| This enigmatic work combines the best of both figurative and geometric colour studies; presenting a highly-detailed, oblique-view bust on an abstracted, linear ground. The soft compliments of the sepia flesh tones and the blue line are reinforced by the strong contrast between the black and white bands that bisect the work. The strong geometries perfectly counterbalance the strikingly rendered organic form. |
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Cabaret
1997 |
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| This striking work presents a female figure in a pose of suggestive, yet mixed messages. Although initially provocative, the closed pose demands restraint. With the dark background and dramatic spot-lighting, the theatrical theme is well presented; highlighting the contrast between the revealed flesh and the bold green silk. |
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Diabetics
1996 |
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| This monumental work eerily presents a scene of two figures, designed to be misinterpreted based on societal preconceptions. Although the first impression is generally that one is viewing a pair of junkies; the title gives insight into the untold story of which we see one scene theatrically presented. |
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Origins
2003 |
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| This astonishing work depicts, in scientific detail, a portion of the human skeletal system. The delicate rendering, subtle lighting, and gentle sepia tones of this piece are in the style of the early-century cabinets of scientific curiosities. Gentle handling of the osseous subject lends an appealing accessibility; a striking contrast to the usual clinical handling of this unusual subject |
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Silent Scream
1995 |
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| This startling work presents a most unusual theme - that of a reflection in the pupil of an eye. Seen in extreme close-up, this large piece depicts the reflection of a screaming face. The bright colours are reminiscent of Lichtenstein illustrations, and this effect is further enhanced by the polarized contrasts between highlights and shading. |
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Sunshine
2006 |
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| This captivating work depicts an anonymous female bosom in the soft, golden light of early morning. As expressive as the absent face might have been, this literal bust invites intimate, contemplative observation. |
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Chromatic Proof Abstraction
2006 |
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| This mysterious work is a study in chroma, depicting the perceived interaction between shades rather than hues. The peaceful neutrality and spiralling geometries allow the viewer to lapse into relaxing contemplation. |
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Colour Proof with Flaw
2006 |
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| This prismatic work exemplifies the illusionary quality of true colour theory works. Depicting a spiral of translucent overlaid squares, the colours are juxtaposed rather than intermixed. The beautiful, true colours refresh the mind as well as the eyes.
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Holding Back the Red
2006 |
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| This red work, a pendant piece with “Intersecting”, exemplifies the strength of a pure, primary hue. The linear black strokes, angled like cut ribbons, seem to weave the image of a triangle into the center of the piece, while keeping the eye within the work.
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Infinite Regression
2006 |
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| This vibrant work seems to move as the viewer “reads” it. Composed of two primary colours, and outlined in defining black, this geometric piece recalls the pixelated style of early computer graphics, creating an ambiguity illusion similar to the Necker Cube.
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Chromatophor
2006 |
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| This bold work, with its large fields of pure colour, is reminiscent of the colour-ground period of Jasper Johns. The composition of cerulean blue, balanced by a band of primary red and complimentary red-violet, forces the eye to remain in excited motion as it continuously reads and rereads the piece.
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Intersecting
2006 |
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| This strong work, a pendant piece with “Holding Back the Red”, reveals the warmer side of black. Pure hue red glows in the darkness of the black ground, while the ribbon-like boundary lines create a smooth tension with the pecieved motion of the segmentary chevron |
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Delight
2006 |
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| This cheerful work is true to its name. Presenting the very definition of a grid illusion, the shape position and colour compliments converge to create the illusion of further geometries at the intercestions of the overlayed linear forms that compose this piece.
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Trifecta
2006 |
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| This vibrant work is titled after the political theory here spelled out in colour theory. As a loophole in democracy, a government executive can appropriate an elected official into another position, and then appoint succors into the attached vacancies that have been created. Here, we see the primary red and blue, supported by secondary green, and further aupplemented by a selection of tertiary tints of violet.
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Linear Proof
2006 |
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| This prismatic work inspired the artist to further his exploration into colour geometries. The juicy rainbow of primary and secondary colours, arranged into a graphic plaid, is further brightened by interplay with the tertiary tints that fall between the bright, true, hues. |
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Circular Logic
2006 |
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| This vivid work counterpoints complimentary colours to the best advantage of the overlayed geometries. The rectilinear field is further enhanced by the superimposition of two almost-three-dimensional spheres. The use of violet tones throughout the piece balance the bold red that anchors the work.
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Death Takes Him (Helplessness)
2006 |
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| This dramatic work is the first in a series of four allegorical works executed on a historical scale, depicting a journey of the spirit. As the two names suggest, there is a duality of theme to this piece piece, providing two perspectives to contemplate. The secondary theme is of the helplessness of the woman from whom someone has been taken unto death; while the primary theme is the voyage of he whom death has taken (represented by a self-portrait of the artist). The cool tones and pervasive green tint add to the plangent desperation of the piece. |
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Calculus Dreams
Oil on Canvas |
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| Sold |
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Stormy Sky
2008 |
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Green Fields
2008 |
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Portrait 2
2005 |
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| 教育程度与个人自传 | |
| Education MFA 2001 Figurative Painting New York Academy of Art BFA 1998 Fine Art Salisbury University Areas of Specialization Classical Painting Techniques (including historic pigment mixing and application techniques) Ecorche and Life Drawing Colour Theory Three-Dimensional Design Art History Exhibition Record (*denotes solo exhibitions) 2007 Invitational New and Class Works by Alumni and Former Students of John R. Cleary Student Art Center SAC Galleries Salisbury, MD 2005 Commercial In Perspective Agora Gallery New York, NY 2001 Juried Graduating Masters Thesis Exhibition New York Academy of Art Exhibition Space New York, NY 1998 BFA Emerging Artist & Art Work in Progress AI&G Art Institute and Gallery Salisbury, MD 1998 Invitational/BFA Thesis 12th Annual National Conference on Undergraduate Research 24th Annual Senior Art Exhibition Fulton Gallery Salisbury, MD 1997 BFA Curriculum Student Exhibition Atrium Gallery Salisbury, MD 1997 BFA Curriculum *Student Exhibition Atrium Gallery Salisbury, MD Bibliography (Reviews/Articles/Catalogues, Reviews/Articles/Interviews) Tracee Ng, “Neal Falanga Press Release”, Art-Mine, 2005 Kent Kimmel, “24th Annual Senior Art Exhibit”, exhibition announcement w/ photograph and caption, The Gallery Views, Volume 4, No. 3; page 4 |
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