 |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
ENRIQUE SIERRA
VIRTUAL STUDIO
From prehistoric pigments in the Alta
Mira caves (Spain), to graphites in
Leonardo’s drawings, to lithography
and etching presses, artists have
capitalized on the technological
advances in society. (“There is no
such thing as Art with capital - A -
There are only artists”. 1950 The Story of Art by E.
H. Gombrichs. Linking technology with
innovation, the artistic avant-garde
seeks to integrate technology into art.
With this goal in mind, artist Enrique
Sierra takes thirty years of figurative
painting to its next level by using
Cyber Technology.
Summoning his memories of a decade
in Spain, Sierra embarks upon an
allegorical journey into what he
considers the inner dimension of the
bullfighting ring: the libido. In self-
mocking sketches, using neo-classical
figures of women and bulls, he depicts
fanciful and grotesque figures as his
alter ego. With tongue-in-cheek
portraits, his drawings provide ample
psychological fodder for a generation
of diverting Freudian analysis.
While etching directly into the
computer via a tablet as an
attachment, Enrique Sierra continues
the tradition of the old masters by
drawing from life using nude models.
R. Rudnitsky
The artist's position toward bullfighting
The artist, a vegetarian for 15 years,
love animals and in no way support
the torture and killing of the bulls in
the bullfighting ring.
Museum in Stockholm
“What takes place in our lives is
always reflected in art – and the
electronic revolution already has a
large place in our lives”
 |  |