su pha vo truyen thong va ky cuong mau sac cung nhu duong net trong hoi hoa hien dai:
Breaking the tradition and convention of colors and imagery in modern art:
Nhu khan gia da thay, hoi hoa cua NN la hoi hoa khong truong phai, khong dao luyen tu truong oc. Nhat la khi di vao digital infusion, NN khong con giu ky cuong mau sac: la' xanh ho'a thanh do? va hoa do? ho'a tha`nh xanh, mat nguoi tha`nh ti'm va cay co tha`nh bat cu mau gi hay su tron la^~n cua tram mau, the hien len tam su cua nguoi ve~, vi canh vat chung quanh mang mau sac noi tam qua ong kinh va mat nhin cua Hoa Si. That ra dieu nay Matisse da lam. Va ky nghe poster cung da tao nen su thay doi mau sac. Sau day la hai buc tranh khac mau sac cua Matisse, cho thay ky nghe lam poster khi in ra (lithography) da thay doi mau sac cua bu'c tranh nguyen tac. NN man phap dem digital infusion vao buc tranh cua Matisse de da^~n chu'ng. Tuy nhien, day la da^~n chu'ng ma thoi. NN khong bao gio di thay doi tranh cua Hoa Si khac de tung ra quan chung. Dieu do, theo NN khong co' da.o du'c cua su sa'ng tao.
My art is L'Art Brut, raw art, art without boundaries, training or schooling -- art not cooked thru museum convention or consensus. IT is art that serves life, adapting itself to the time and space limitations faced by the L'art brut artist. With digital infusion and inversion (something I patented myself), I changed colors of my original artworks and broke conventions: green leaves become red and red flowers become green, depending on how I feel about my environments and external world, such that my internal world and my external surroundings become one, or interchange, through my color expressions, deviations, or even "mutations."
In fact, Matisse has done this -- his diversion from color and imagery convention, and the poster industry has also done color changes thru lithography. An example is the following two color schemes of a piece by Matisse, found on the internet. The making of posters changes colors of the original artwork, although the tonal structure remains the same, i.e., variations of colors within the same tone.
This Matisse piece itself is no longer conventional portrait painting. You can tell below the two versions of Matisse original as produced by the poster industry, versus my experiment with digital infusion...
In infusing this Matisse piece, I deliberately maintain the purple-royal blue color that, to me, has become the signature color of Matisse's modernism. You should recognize it, below:
Quy vi co nhan ra mau xanh tim the^? hien tranh hien dai cua Matisse khong? Tat ca cac ban thay doi mau sac deu giu lai mau xanh tim cua tranh Matisse. NN cung du`ng mau nay rat nhieu khi ve~. Khong phai la bat chuoc Matisse ma tu nhien no hien ra...Khong giai thich duoc vi sang tao la vo thuc va tiem thuc, cung nhu ban nang tu nhien, khong co su thu xep hay tinh toan.
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