Kultivate’s Art Critic and Gallery Reviewer Oema, reviews Milly Sharple’s latest exhibition:
I’m visiting right now the wonderful exhibition of Milly Sharple entitled “New Fractal Insanity“(click to teleport).
It is an art show that exhibits fractal art.
For those not familiar with the fractal art, it is created by calculating fractal mathematical functions and processing the calculation results obtained in images, animations, music or other forms of artistic expression.
Normally the fractal art is created with the help of a computer in order to speed up the calculation process of fractal feature.
Since the origin of this art form is mathematics, there have been critical in the classification of art image thus obtained.
However, in this doubt now artistic environment is exceeded and we can talk about art with a certain tranquility.
Indeed, we can argue that the fractal art is an important bridge between the science and the art itself.
As if to say, art and science shake hands fractal art.
There are different types of fractal art and software also complex for its realization.
The best-known software “Ultra Fractal” and “Apophysis“, the second of which is free.
The art of Milly Sharple is a wonderful example of fractal art, rich with vibrant colors and intriguing shapes.
This variety of shapes and colors is reflected in both artistic categories exposed, that is, both in the abstract and in that fractal.
At the entrance of the Gallery Milly you can find information about the artist and the type of proposed art.
Continuing on the left you can admire the work of fractal art, on the right, however, the abstract art works.
Here is a small but comprehensive introduction by the artist:
I INTERACT – Milly Sharple
Through my art, I INTERACT with color, form, light and movement. I also interact with various media to create what I find pleasing as an art form.
Fractals can be found everywhere in nature – we only need to really LOOK to become aware of them. Trees, leaves, clouds, cells, flowers… the list is endless.
I have been creating fractal art for more than twelve years and have created a style that has become recognizable to many as my own. I strive to create fractals that are more artistic than formal, preferring the flame-type fractals for their fluidity and movement and their beautiful colors, but I am also fascinated by the mysterious Mandelbrot and love to explore it and derive beautiful shapes from that too. My abstracts are created using either my fractal art or my photography as a starting point. I love vibrant colors but I am equally comfortable with soft pastels and muted shades.
I also really appreciate the style used by Milly to furnish her Gallery, class, elegance and precision.
The artist, in fact, uses panels where she casts her works: in some cases they are offered as a slideshow, in others as a movement since the fractal shape.
The result is really very impressive and unique style.
In fact I agree with the submission of Milly, she was able to elaborate her own unique personal style, certainly well identifiable and recognizable.
As well as the fractal art Degoya Galthie, exposed in the suggestive Mediterranean-Oc, Milly proposes harmonic forms, from the pleasant emotional impact.
Looking at some works of Milly, I find a strong similarity to Jackson Pollock (1912-56), American painter, the commanding figure of the Abstract Expressionist movement.
He began to study painting in 1929 at the Art Students’ League, New York, under the Regionalist painter Thomas Hart Benton. During the 1930s he worked in the manner of the Regionalists, being influenced also by the Mexican muralist painters (Orozco, Rivera, Siqueiros) and by certain aspects of Surrealism.
From 1938 to 1942 he worked for the Federal Art Project. By the mid 1940s he was painting in a completely abstract manner, and the `drip and splash’ style for which he is best known emerged with some abruptness in 1947. Instead of using the traditional easel he affixed his canvas to the floor or the wall and poured and dripped his paint from a can; instead of using brushes he manipulated it with `sticks, trowels or knives’ (to use his own words), sometimes obtaining a heavy impasto by an admixture of `sand, broken glass or other foreign matter’.
This manner of Action painting had in common with Surrealist theories of automatism that it was supposed by artists and critics alike to result in a direct expression or revelation of the unconscious moods of the artist.
Pollock’s name is also associated with the introduction of the All-over style of painting which avoids any points of emphasis or identifiable parts within the whole canvas and therefore abandons the traditional idea of composition in terms of relations among parts. The design of his painting had no relation to the shape or size of the canvas — indeed in the finished work the canvas was sometimes docked or trimmed to suit the image. All these characteristics were important for the new American painting which matured in the late 1940s and early 1950s.
Of course Milly’s work has a definite “feminine touch” that characterizes her art.
Ok, I conclude here my Milly’s fractal art tour urging you to visit in person this immense and dense gallery, letting you immerse the harmonious shapes and colors and fluid and dynamic movements at the same time.
And don’t forget to take the nice gift at the entrance of the Gallery!