Tag Archives: Sebas Velasco

Sebas Velasco Paints a New Mural in Kiev

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Kiev is currently hosting a large public art program titled Art United Us, curated by Geo Leros, Iryna Kanishcheva and Waone Interesni Kazki. One of the recent artists that visited Ukranian capital in order to participate in this project was Spanish painter Sebas Velasco.

For this piece the artist put together a collage of images that he noticed and liked around Kiev – the architecture, the lettering used, local graffiti, lights, signs and colors of the night. Strongly influenced by the realistic painters from the beginning of 20th century, the works is sort of a nod to the local masters such as Ilia Repin or Mykola Pymonenko. In that sense Velasco accents his painterly technique, the marks of the brush, the use of color, the line, density and texture, over the image or the meaning of it. With the main character being one of the locals that invited the artist and his friend over for a dinner, the mural was also a thank you gesture to the kind stranger.

Photo credit by Geo Leros

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Bilbao’s SC Gallery presents “Demain c’est loin” Sebas Velasco’s solo show

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On Saturday 12 December from 19:30 h SC Gallery in Bilbao will be showing “Demain c’est loin” first solo show in Basque country by Sebas Velasco. For this exhibition the artist produced a series of paintings showing reflections about the real underworld, discontent and uncertain future in these times of crisis and economic recession.

Velasco’s oils tell stories about those who live “in the periphery” and about lonely, empty or derelict establishments, hence the exhibition’s title “Tomorrow is far away”. Added element of uncertainty and raw feel is the fact that the action takes place at night, when “unidentified youth” come to these places to paint or just to have fun. Technically, the works include melancholic aesthetics that we usually relate to Americana, but passed through a European filter (specially an Eastern European filter). Also, the artist isn’t hiding his working process, but uses it to accent the parts of the image and/or add dynamic to his works, the same way he uses light to accent the reality factor of his imagery. These works are results of his own documentation of graffiti underworld experienced during his travels to Poland, Germany, the former Yugoslavia, etc but could be happening anywhere, as such action exist in every city.

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