Art in General – and My Art in Particular-, Design, Creativity, Sustainability, Jazz and any Cool Stuff I may think and manage to write about with some sense.
JAZZ MEANS FREEDOM
Many people ask me why I have chosen to base my current series on the sounds of Jazz.
There are many reasons. On the one hand, I simply love that sound. It can be simple or complex, uplifting or romantic, funky or full of swing, cool or pacific, but it always manages to delve somewhere deep and lift me up to places I didn’t know before.
Another reason is that Jazz for me is simply another way of saying freedom. In jazz the score is just the excuse to show each musician’s luster and skills, as well as their love for sound that is rich, expressive and unique. Since its birth, this musical manifestation has been a part of all movements that wanted to articulate people’s liberty to express themselves.
And that is want I want to do on a canvas. I want to free myself to utter what is happening to me with the score, to allow me to be deceptively wild, to look for unorthodox ways of making you feel something different, and yet to allow you also the independence to see what I see in your own way, and in your own time and leisure.
There are many stories about the importance of Jazz in the fight for freedom. Not only musical but also as an expression of liberty of thought.
One of those well known stories involves the Benny Goodman Band and their first trip to the USSR in the 1950’s. Firstly, Mr. Goodman was incredibly surprised by the huge crowds which followed him in spite of one of the toughest environments for personal freedom in the second half of the XX Century.
Here was an American icon and his sound, allowed to play in Russia just as an excuse to show openness to the outside world, and at the same time people were not being allowed to listen to his kind of “foreign capitalist corrupt music”.
His second surprise was the fact that people came to him and kept telling him how they loved his work in terms of “we love CL7943 or CL8726”.
Goodman didn’t know what they were talking about. Until someone explained to him that because his works were prohibited by the government, people referred to them by their recording label number, as a way to avoid censorship and prohibition.
He thus found that, incredibly, there were very few people as knowledgeable of all Jazz music as the Russian fans.
That in a small way was both a declaration of another triumph of the people to free themselves from an overbearing government, but also it was another triumph for Jazz music, a sound which after WWII became the music of freedom.
I don’t know if I can say that my art will one day represent as much, but I know that my aim is to make it a clear expression of the lack of restrictions I feel as I put my art across, of ideas reworked into shapes and colors without boundaries, of joy and pain and thought all intertwined into vivid and abstract melodies.
I don’t always manage to do it, but rest assured that with my Visual Jazz I am always looking for new ways to convey that improvised musicality, that different sound that strikes as offbeat first, but which with time simply becomes… just so cool.
ABOUT IGNACIO
Ignacio was born in Buenos Aires, Argentina, grew up in Australia and lived in several countries around the globe until his return to his country of origin 15 years ago.
At a very young age and with the help of his mother, a talented artist herself, and his father, an engineer internationally renowned for his creativity and innovation, he took his first steps in the world of art. Surrounded by drawing tables, technical pens and architectural influences he began to create his own path.
His early influences were very eclectic and mature for his age. They included great masters like Rembrandt, Monet, Van Gogh and Picasso, as well as modern masters like Kandinsky, Pollock, de Kooning and Rauschenberg. Drawing, painting, and a great deal of reading took an important place in his life.
During his early 20s he develops a love affair with jazz, becoming an avid follower of the local Australian jazz scene and as a result, his painting begins to show signs of this inspiration. Complex rhythms, intertwining melodies, and a great deal of improvisational skills are developed in his art.
That slow and jazzy pace also helped him mature his own approaches and techniques while freeing himself from classical ties, finding stimulus in unusual places and developing a unique and sensitive voice.
Added to that, his artistically applied synesthesia –condition which he shares with Kandinsky-, adds to his work an unusual share of musicality and innovation. The artist admits the complexity of combining his artistic imprint with the possibilities this "gift" generates while always underlining that it is a constant exploration, full of achievements as well as challenges.
The result is a fusion that explores the limits of colors and shapes within a marked abstraction. An expressive path without reservations strongly anchored on his individuality and unique experience.
This exploration has not only been applied to his painting. He has also pursued his vision into other forms of artistic expression, including smaller architectural and design projects, and graphic design assignments applied to advertising and marketing.
VISUAL JAZZ
IGNACIO ALPERÍN BRUVERA
The works presented in his Blog are a fraction of the main series developed by the artist and which has been travelling around different cities around the world since 2010. The artist’s "Visual Jazz Tour" encompasses works aided by his synesthesia and based on a visual interpretation of melodies, mainly from traditional and avant-garde jazz, soul, Motown and the American songbook, expressed in shapes and colors.
Fascinated by this musical genre, Alperín has created his own visual language through the same methods of inventiveness and spontaneity as musicians. We find in his paintings spectacular spiral lines and longitudinal strokes which glide through the canvas, outlined by an energetic use of the primary palette, extracting from these colors unthought-of shades and gradations that have become a signature and a characteristic of his bold and powerful style.
In this way he has built its own movement filled language to communicate and engage in a dialogue with the public; mostly divorced from figurative representation, he constructs a visceral abstraction that stimulates the imagination and turn on the viewers’ inner sensations.
Ñ magazine (South America´s largest selling arts and culture magazine), in its issue of September 11, 2010, under the title "IGNACIO ALPERIN in NEW YORK – an Argentine visual Jazz show" went further than that, drawing a parallel between the love of jazz from the great Argentine writer Julio Cortazar and his incorporation of this musical form into literature, with the work of Alperín and his intention to assimilate this same musical form, this time in the realm of visual art.
Many subsequent articles in La Nación and Clarin newspapers (Argentina´s best- selling newspapers), as well as specialized magazines such as the above mentioned Ñ, ADN and Maleva Mag –just to mention a few - have also constantly highlighted his originality and constant growth.
The artist has conceptualized his art in a term that expresses the musicality of his work together with the movement that he seeks to impose on it.
The viewers are thus encouraged to become emotionally involved, transcending everyday reality in a process without space, age or time, towards a more universal, melodic and harmonious view of everything that surrounds them.
The work of Alperín has movement, rhythm, coolness and a degree of visual improvisation that is meant to hide a very well studied score. The result is constant dynamism and exceptional use of color in a never ending search for beats and counterpoints.
This synthesis of Art and music, or "Visual Jazz" as an American journalist baptized it a few years ago, it is almost a trademark of Alperin´s work with a strong track record and exhibitions in New York, Miami, London, Melbourne, Zurich, Lisbon and in Argentina.
Currently, the artist discloses the development of his work and research, and how it applies to corporate and professionally applied creativity in academia, as professor of Creativity and Innovation at the Universidad Católica Argentina (The Argentine National Catholic University in Buenos Aires), and gives seminars on the subject in the context of workshops and events for individuals, companies and artists both in Spanish and English. View all posts by Ignacio Alperin Bruvera
