The Chelsea Perspective - ARTisSpectrum

Atousa Foroohary
In the face of frantic technological
advancement and
Whether working in watercolor,
acrylic, or collage, Leona
the ever-escalating complexi-
Whitlow is unafraid to use the whole
ties of modern life, Atousa
palette, creating works that are full
Foroohary gives her audience
of vigor and whimsy. Her paintings,
respite in virgin forestscapes,
some completely abstract and others
quiet streams, park-like set-
containing recognizable figurative eletings,
and affectionate porments,
inadvertently emphasize movetraiture.
Eschewing cold
ment – a natural choice for Whitlow,
abstraction and high concept
who was once a classical ballet dance
in favor of realistic and natu-
teacher and an expressive therapist.
ral representations of people,
In the “The Gathering,” as in many
places and objects, Foroohary
Gift 48” x 48”
reminds viewers that unpar-
Oil on Canvas
alleled beauty is abundantly
of her other works, Whitlow creates
a sense of movement and rhythm by
The Gathering 32” x 28” using quick brushstrokes, aggressive
present in ordinary, observable reality.
Acrylic on Canvas
colors, and her signature black lines
Though she clearly favors realism, Foroohary’s work is fluid that often outline the elements of the painting.
in its stylistic boundaries, permitting exploration beyond detail-for-de - With the exception of several landscapes, the action in her
tail replication. Encompassing a spectrum of expression ranging from works happens on the surface. “The Gathering” is a dynamic com -
photographic accuracy to impressionistic and symbolistic work, it is position full of the comings and goings of people. Yet the abstract
Foroohary’s consistent use of natural color that unifies her paintings. In background, chaotic spacing of the figures, and their schematic nature
the philosophical vein of Monet, Foroohary believes color can be used makes them into inhabitants of the surface. This intentional two-dimen -
to draw forth the essence of a character or scene, radically enhanc- sionality adds to the overall intensity of Whitlow’s works and helps the
ing one’s appreciation of illusionistic space. Using what she calls the viewer focus on the subtle details of form.
“miracle of color” to communicate the ineffable, Foroohary’s hands Whitlow has studied with several artists, has won awards in
are her bridge between the apparent and the supersensible. Balancing juried art shows, held solo exhibitions of her works, and now serves on
faithful representation with lively surface textures, Atousa Foroohary’s the Board of Gold Coast Watercolor Society.
art casts discernible reality in a friendly, natural light.
www.whitlow-art.com
www.myartclub.com/atousa.foroohary
Kenji Inoue
The Japanese Heritage of Kenji
Inoue is evident throughout
the works of this young artist.
Pure color is the subject of the
abstract paintings – color used
with a passionate sensuality reminiscent
of the ancient Japanese
Ukiyo-E woodcut prints. Inoue
paints with the force of an impetuous
young culture—reds and
blues in wild abandon, uninhibited
brushstrokes—his abstract
compositions are a painterly exploration
into the winds of freedom.
These works go beyond
simple experimentation with
Supersonic! Go, Go Kenji 46” x 36”
color. The abstract shapes and
Oil on Canvas
forms evoke strange landscapes
– sometimes lunar, sometimes underwater, and sometimes wild wilder-
nesses of threatening red deserts. Into this unsettling scene Inoue intro -
duces familiar shapes such as triangles or rectangles that form a cool,
negative space of white nested in a sea of intense red or deep indigo
blue. We cannot look impassively upon this wave of pure color blowing
in our field of vision. Momentarily, we get drawn into the painting in
front of us, our perception and our imagination running free.
Kenji Inoue lives and works in Japan. He has a degree in
illustration from the Tokyo Communications and Arts Professional
School.
Leona Whitlow
53 ARTisSpectrum