SCRIBE Professional Writing and Editorial Services

Excerpts

The following are some samples of various writings that our company has composed for artists.

Excerpt from a Profile of Artist Ramel Jasir

Born and reared in Portsmouth, Virginia, Ramel Jasir strains to grasp a memory of his childhood that does not involve creating art in some form. A self-taught artist, Jasir has always been a researcher of his craft and has honed his skills and artistic talents through experiential learning. A voracious reading habit coupled with a typical little brother’s emulation of his older brother was at the root of Jasir’s official origins as an artist. He fondly remembers the sole art lesson his big brother Alexander Hunt offered him: learning to draw the ears of Batman’s mask. That was the catalyst that launched Ramel Jasir onto a never ending quest to bring true realism, authenticity, and passion to everything he created.

To view the profile in its entirety, please clickRamel Jasir's website.

Excerpt from a Critical Essay of Artist Clayton Singleton's Walking on Paper Exhibit

The paintings of Clayton Jerome Singleton are not entities separate from the man; they are extensions of him. His art offers its audience an intimate connection to the world as it is seen through the eyes of this dynamic artist.

Telling stories that connect to the human experience, specifically with regard to the consubstantiality of faith and life, Singleton uses symbolism and imagery to explore themes of possibility and expectation. Through his paintings, the artist examines unique aspects of faith as it relates to religion, secular ideals, and the self. Furthermore, he uses a multiplicity of imagery, styles, and symbols to make commentary on various elements of humankind’s employment of faith for survival.

With attention to his own introspective views of faith, Singleton uses figures in his art that represent the complex waltz between belief and the human condition.

Excerpt from a Rhetorical Analysis of Artist Clayton Singleton's Painting Rebuilding Faith in Myself – I Am Not Your Bridge to Use

People are not disposable. At times, people question their self-worth, value, and abilities because others have used them for their personal benefit then discarded them when they have achieved their goals. Like pouring bottled water into plastic cups, there are people who thrive in waste and licentiousness, even if that wastefulness is of lives and relationships. “Rebuilding Faith in Myself – I Am Not Your Bridge to Use” explores this theme.

The focal point of the piece is a man, arms outstretched, head facing upward, with the lines of his neck and throat exposed. His vibrant ultra marine blue shirt blends exquisitely with the soothing, cool, azure sky that is the painting’s background. Resembling olive branches, the Adinkra symbol nyame nti, faith in God, dots the sky and lingers about the head of the emphasis figure while the brilliantly yellow Dwennimmen, the Adinkra symbol for strength, humility, and learning, surround the man as he stands on the earth represented by a mixture of green and red.

At first glance, the painting affords the viewer a sense of serenity and solace; however, miniature people, walking, hiking, jogging, stopping to converse, and carrying on with life on the arms and shoulders of the man, evoke a different set of emotions. Void of distinctive detail, these black figures are disturbing, but they also draw the audience into a connection with the larger male figure in the painting. Furthermore, the painting’s symmetrical asymmetry creates tension for its audience. The viewer craves the same number of symbols and objects on either side of the man who is directly centered in the painting, but the unevenness only adds to the complexity of the piece and works well with the themes presented within its images.

The juxtaposition of vibrant, calming, and beautiful images with those that are unsettling and thought-provoking, wrapped in what appears to be a contradictory title are the epidermis of this incredible painting. Alluding to the crucifixion, the central figure in the painting holds his arm open with his head facing the heavens. Dressed in plain clothes, this everyman figure becomes self-sacrificing for the smaller people who indiscriminately use him as the connector from one path to the next. They use this man as a bridge to go on with their daily lives and tasks without much regard for him or acknowledgement of his sacrifice. His stance mingles strength and vulnerability; it asks for help while taking back the self by shaking off those who are insignificant or who do not have his best interests in mind.

Excerpt from an Artist Profile of Lena Sotskova

“If you can avoid painting, do that.” These words, not typically thought to drip from the lips of a successful artist, highlight the eccentricity of one incomparable creator. Her philosophy of art is simple; she paints only when it is absolutely unavoidable and only when she cannot live or breathe without putting brush to canvas. The overwhelming urge to create comes from above, grows inside of her, and completely consumes her being. When this artistic trance emerges, all sense of time and space escapes her, she forgets to eat, and she loses the need for the substances that typically sustain human life. She lives through the art, through the creation, and she does not cease until all of her emotions, passions, and inspirations have danced, merged, mingled, and married to form a masterpiece. This artist has learned from her earlier experiences not to create if she disconnected from inspiration. Certainly, this fascinating and talented painter could create a highly technical, made-to-order, commissioned piece that would exceed all standards of artistic canons and achieve ultimate impressiveness, but the art would lack something quite special. It would lack what makes a piece art and not craft. It would lack the heart and soul of a distinctively gifted and passionate woman. It would lack all that is Lena Sotskova.

Lena Sotskova was born and reared in Moscow. The only child of her parents and a descendent of generations of Russian aristocracy, Sotskova benefitted from the immersion of art and culture through artists, musicians, and actors frequently visiting her parents’ home. With classical music, the paintings of old masters, and sculptures surrounding her, Sotskova’s artistic and creative instincts gained life.

Traveling extensively with her parents, Sotskova visited Florence, Paris, London, various Asian capitals, and many regions of her native Russia. This exposure to the diverse, rich, and vast cultures of centuries of global art and music continued to mold her inherent artistic qualities.

She started painting at the age of four which prompted her parents to seek formal education for her in art school and through private lessons from extremely talented and highly acclaimed artists. Studying music and art simultaneously until the age of seventeen, Sotskova gravitated to the canvas. Her renderings celebrated her love for the fine arts through the continuous exploration of musicians and dancers as subjects.

Click the link below to view the bio of musical artist Phil FlarVh

http://www.reverbnation.com/philflarvh