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How the analysis comes to life…

Painter’s comment

The creative process of creating a painting is a very mystical experience. It often seems that as a painter you are only a medium through which higher spheres or energies of other dimensions want to communicate a vision that will affect people and help in growth and development.

From the EYL team, I received the symbolism and attributes for creating a new painting in order to support the client with the portrait. As a painter, I believe that this initial process is extremely demanding – to transfer something invisible, a vision or an idea.

When I repeatedly read the personality description and hidden symbolism, I allowed the images and colors to enter into my inner vision, and as some sort of puzzle in a chaos they were interrupting and influencing one another. The creation of an artwork is like the creation of a galaxy in the universe. All matter, particles, ideas and visions, all the possibilities and all emotions gravitate into the hot center of the burning central sun, which grows firmer until it explodes in response with fantastic light and beauty outwards.
Drawing after drawing, they are flowing to the paper until the basic energy of the figure and composition is not fixed into satisfying beauty and attractiveness that harmonically resound the image invoked by a man’s record. Alfons Mucha revealed to me that artists are associated with a great golden river flowing through space and time. This way, every artist can access this large library of images and knowledge. So I think painting and creation of artworks are magical. Images flow from other energies
and worlds, they are realized through an artist who is a medium and thus becomes visible to the rest of the world. Line design comes first, so how do the curves and masses of light and shadows flow. Exploring the relationship between the background and the main element, an abstract dance that receives a realistic embodiment. Then the line is turned into color, and the research is deepened into bright dark relationships that spill over into color and give a breath of life into
the drawing.

The process

Before confronting a large canvas, it is important that the painter establishes the composition elements and anatomy. In this case, Anikis drew with red pastel a figure on a suitable piece of paper and examined the selected form of the body of the main ballet soloist Peter Djorchevsky, who with his grace and masculine energy posed for the higher purpose of joining dance and painting, movement and drawing. His jumps and complete control of the
body were immortalized with a camera and the photographs were used as reference for the drawing and later painting. The painter Nik Anikis uses his skill that was developing more than 30,000 hours, and this is working directly on the canvas with a soft pastel drawing implement (pan pastel), and making a drawing which he articulates into detail. He spends several hours to do every step. When he is completely satisfied with the quality and
expression of the line, he endeavors to conclude the drawing with oil paint, which with the media he makes more fluid and eagerly to dance. The brush stamps the time travel of the color to the wide plane of the canvas and breathes the figure a contour which becomes the boundary of the body in motion. The line with matter turns from abstract forms into a realistic body calling with the desire to be touched by the contrast of night and day. Shadows that give the light their magic and lights that permit the shadow the contrast of difference. The whiteness of the canvas is marked with dark fields of color that create the effect that the virgin whiteness of the canvases shines in its beauty. Forms and composition are more pronounced here, as our brains are connected in a way to perceive shapes more strongly than lines. From the very beginning, it is understandable that the dancing of lines and surface plays the most important role in the painting. The brown color Raw Umber from Michael & Harding serves as the foundation on which the palace of beauty and higher vibrations will be painted, which enter through the process of painting and anchor in the painting. The use of several layers allows the symbols to root into the foundations that with their calling penetrate through the next layers and influence the viewer to awaken his ancient record. Thus, Hebrew letters are embroidered in the basic glaze of brown in the parts of comets, which represent matter that came from the depths of the universe/soul of this individual. Now they are again serving him to awaken the potentials of his soul. The red drapery wrapped around the figure represents blood and the embodiment of man in the material body. The angelic symbol Phyrhum, with its fervor, enables personal and collective progress. The rabbit, which is painted in the lower layers but is finally hidden in the universe, represents levels hidden to the eyes, which nevertheless exist behind the veil of invisibility.