Busacca Gallery

Artist Alexander Sutulov works in and with landscape, new mixed media & materials. In the same measure, Key Black Series is a vivid landscape of specific morphologies that originate from aleatory drawings associated with various archetypes such as Tauromaquia Series and Roman Portrait Series. The visual exercise of weaving formal elements germinates a rich tapestry of familiar sounds which can unwillingly provoke a sensation. The work is purposely inclined in this direction of confronting and colliding iconography of different origins, in order to stress organic value as an intrinsic quality of recognizable landscapes. After twelve years of not exhibiting in his country, Chilean artist Alexander Sutulov presents during the months of December and January his unprecedented graphic work at the Philippi Museum in Valdivia, Chile. Taking into account the exhibitor's international repertoire present in more than 15 countries, draws attention his particular interest to exhibit in a museum primarily devoted to natural sciences. Great part of his work in the past ten years has been focused in iconography lingered to Chilean landscape morphology and its symbiosis with pre-Hispanic cultures, discourse of which he already established a point of reference with the History of Chilean Mining Mural inaugurated at the University of Concepción in 2005. The exhibition titled: "Chile: Tierra de la Frontera" or "Borderland Chile" considers two general themes, the first one referred as "Native Chile" is a horizontal vision of pre-Hispanic culture from northern to southern continental Chile including native flora characterized by each region of the countries various latitudes. Lastly, Huilquilemu Series, Mapuche word derived from wilki: thrush and lemu: forest, is an exploration of native tree morphology such as the Chilean Oak, Coihue and Arrayán in the form of intricate silhouettes where its spacial reorganization suggest organic value inherent to Chilean southern landscape. In relation to the artists leitmotif and project genesis, Sutulov addresses naturalist Alexander von Humboldt's scientific view of the new world in the nineteenth century. Although he never travelled to Chile himself, his influence and support to Bavarian artist Johann Moritz Rugendas had a great impact in the monumental work of Romantic artist's endless topographic descriptions of an emancipated new republic. Museum's Chief Curator, Adrian Silva is enthusiast to discover artist whose visual language is empathetic with an important academic community where the Museum has an active role and reputation. More so considering on the premises of the Austral University where the museum is located, environmental research is at it's peak where for example, countries dendrochronology and bio diversity scientist are most regarded. In this respect, the work of Sutulov comes in a crucial moment where a series of questions and debates are been generated regarding sustainability and conservation of national patrimony so much for indigenous cultures as for native flora and fauna associated to Chile's national territory. One can describe a mise-en-scènes where combined pictorial and graphic language define a new genre in the realm of digital painting. In no doubt these large format works digitally printed on 100% rag paper, bring together diverse disciplines like drawing, printmaking and painting where its surface richness is an admirable synthesis, and more so, when speaking of landmarks associated to a cultural heritage.

Link: http://en.wikipedia.org/wiki/Landscape_art

Landscape art depicts the surface of the earth, but there are other sorts of landscapes, such as moonscapes. The word landscape is from the Dutch, landschap meaning a sheaf, a patch of cultivated ground. The word entered the English vocabulary of the connoisseur in the late 17th century. The Chinese tradition of "pure" landscape, in which the minute human figure simply gives scale and invites the viewer to participate in the experience, was well established by the time the oldest surviving ink paintings were executed. Landscape painting was the "chief artistic creation of the nineteenth century", with the result that in the following period people were "apt to assume that the appreciation of natural beauty and the painting of landscape is a normal and enduring part of our spiritual activity. Landscape observations ranging from highly accurate and scientific to outlandish or fantastic. These observations are documented in the landscape artworks they produced. Landscape art and landscape painting was manifest in more purely formal terms, such as color, freed from objective context, and a reduction of form to basic geometric designs. Painting is a mode of expression, and the forms are numerous. Drawing, composition or abstraction and other aesthetics may serve to manifest the expressive and conceptual intention of the practitioner. Paintings can be naturalistic and representational (as in a still life or landscape painting.