Who is Soócrates Rízquez?
Unintentionally, it is very possible that I am one of the few artists in the world who today paints with the enamel technique and certainly the only one who does so with a certain level of perfection.
I am also the artist who has coined the Hyper-impressionist style and I currently develop my work under this discipline with impressionist inspiration and results close to hyperrealism. To learn more about Hyper-impressionism visit my site: Hyperimpressionism.org
My work is generally focused on urban landscapes, playing with perspective and geometry. I am not looking for the identical reproduction of something that already exists, but to show an ideal reality whose structure goes beyond what is purely observed. Due to the nature of light, my paintings become colorful puzzles where the viewer builds the scene by joining the details that make it up. My medium-format paintings are not designed to overwhelm the viewer, but invite them to look at them by introducing them to a specific setting, generally a mega-city.
Photo-realistic painting is to impressionism what a ballroom waltz is to Argentine tango. Once you've done tango, the waltz seems stilted, controlled and oh so dull. Give me the passion, the sexiness and the bravura of the tango, thank you very much.
The light constantly changes, and that alters the atmosphere and beauty of things every minute.
It is not enough to know your craft, you have to have feeling. Science is all very well, but for us imagination is worth far more.
Conversation in real life is full of half-finished sentences and overlapping talk. Why shouldn't painting be too?
A person with normal eyesight would have nothing to know in the way of 'Impressionism' unless he were in a blinding light or in the dusk or dark.
What I am after is the first impression, I want to show all one sees on first entering the room, what my eye takes in at first glance.
To my mind, a picture should be something pleasant, cheerful, and pretty, yes pretty! There are too many unpleasant things in life as it is without creating still more of them.
Every new painting is like throwing myself into the water without knowing how to swim.
No, mes amis, impressionism is not charlatanry, nor a formula, nor a school. I should say rather it is the bold resolve to throw all those things overboard.
It took some time before the public learned that to appreciate an Impressionist painting one has to step back a few yards, and enjoy the miracle of seeing these puzzling patches suddenly fall into one place and come to life before our eyes.
I had wrung impressionism dry and I finally came to the conclusion that I know neither how to paint nor how to draw.
If I'm lucky, when I paint, first my patrons leave the room, then my dealers, and if I'm really lucky I leave too.
Hyperrealism can create an atmosphere of surrealism because nobody sees the world in such detail.
True realism consists in revealing the surprising things which habit keeps covered and prevents us from seeing.
Impressionism came about because it suddenly became apparent that pure colours mix in the eye in a more dazzling way than they have ever been mixed in paint.
Hiperimpressionism
The study of the various pictorial styles, and above all, my development and evolution as an artist has led me to define my style as "Hyper-impressionism""
Hyperimpressionism vs Hyperrealism
In Hyperrealism there are no discernible traces of brush strokes and the artist seems to be absent. The works are painted with a thin coat of paint, applied sometimes with different mechanical tools to brushes and even are scraped to avoid relief or traces of manufacture.
In the Hyperrealism it is sought the accuracy of details, while in Hyperimpressionism the use of the details is an approximation to reality, necessary to make a convincing scene.
As hyperrealism or Fotorealism, Hyperimpressionism uses photography as a source and media, although for the first ones is also the aim, or what is the same, Hyperrealism photograph reality through pictorial resources, faithfully reproduce photographs to make the painting totally look like a photograph, and Hyperimpressionism, however, look at in the fusion of colors and forms an approximate reality, nearby, but never exact.
Hyperimpressionism vs Impresionism
Hyperimpressionism cultivates so many common aspects with Impressionism that you could say that is an extension of this style.
The two styles converge, roughly, in trying to capture the light and the moment, that is to say, they paint the over the shapes that underlie this.
If blurred and vaporous and faded surfaces is exclusive of Impressionism, Hyperimpressionism generally defined very well forms and figures, or with the contrast between lights and shadows, or the contrast between colors or with both.
If Impressionism is characterized by the use of pure or saturated colors, mainly oil, thanks to the creation of new pigments in the second half of the nineteenth century, in Hyperimpressionism goes a little further in this aspect and the colors are even more vibrant and brilliant greatly enhanced by the use of products from industrial sources such as enamels or acrylics.
As for the technique both styles share its fundaments in the Gestalt theory, which, even being this postulation subsequent to Impressionism agree on the intention to plastically show that if certain conditions occur, unconnected parts result in a unitary whole, or what is the same, isolated brushstrokes that do not obey the local color or shape of the model being perceived by the viewer globally result in a fully defined.
Contact with me
Please, do not miss the opportunity to clarify any questions, or give your opinion about my work, or simply introduce yourself and say: Hello!
I also invite you to visit my gallery and learn more about my style:
Address
Guadix, Granada - SpainPhone
+32 620 753 646
Exhibitionand sales
Online galleries where you can buy my works with complete guarantee.
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