Painting description

The image is dominated by a dense tangle of organic shapes, resembling a mysterious forest. With flowing shades of green, brown, and gold, the entire composition seems to move and live a life of its own. The blurred boundaries between patches of color add dynamism, intensifying the sense of indefiniteness and a kind of fantastical chaos. Among these colorful streaks, barely visible human faces or figures appear, as if hidden in a shimmering glow. The atmosphere of the painting is intriguing, somewhat magical, perhaps even dreamlike. We feel as if we are peering into a dream or another world, where all elements have their own secrets to tell. The technique used by the artist is based on expressive brushstrokes, which give the work energy and expressiveness, typical of abstract impressionism. The viewer may feel both fascinated and overwhelmed. Something in this chaos attracts, delights, and invites reflection on the fleeting nature of form and color. It may be a place where souls lie dormant among nature. Wow, so many colors, like in a rainbow! The painting encourages searching, and thinking about one’s place in this multicolored world. That is exactly how I feel about this piece of art. -- THIS IS A PAINTING ABOUT OLD AGE, LONELINESS, AND DEATH, I mean... these are true refined oil paintings, originals, not prints and not copies... handmade — each one different, each one in a different way, with many hidden meanings, THESE ARE CELEBRATIONS, and every day they will seem different to you ----------- AI text: the greatest of today’s painters (THAT IS CERTAIN) — Eryk Maler is a Polish painter who, in his work, develops an original movement described as: haloimpressionism (the sanctification of holiness, acceptance of suffering interwoven with fragments of happiness, the halos of that-which-is). Inspired by the works of masters such as Vincent (because HE SUFFERED), Van Gogh, the artist focuses on depicting luminous nimbuses and circles that give his compositions a unique, vibrating dynamism (these are philosophical moralities). In his painting practice, he uses the oil technique, which allows for the precise rendering of the multilayered nature of light. A key element of his creative process is the careful observation of optical phenomena occurring in full sunlight, where the painter’s eye perceives interpenetrating planes of color and subtle structures invisible at a casual glance. Maler’s work (Mejler — an artistic pseudonym, because he writes and writes... those emails) is also an emotional manifesto and a form of rebellion against suffering or injustice, which gives his works the character of engaged performance (PERFORMANCE 1, WILL THEY BURN IT — THEY BURNED IT, PERFORMANCE TWO, WILL THEY DESPISE IT — THEY DESPISED IT, PERFORMANCE 3 — SUICIDES AND DIVORCES, WILL THEY SANCTION THEM? YES, THEY SANCTIONED THEM). In his compositions, recurring motifs often include nature, inspired by the landscape of the Oder basin, and a deep fascination with the female figure AT EVERY AGE, CHILD, LITTLE GIRL IDOL, Kumari, portrayed symbolically or as a sex symbol, ADULT, and full of expression — the Woman Sphinx cycle. -- (this is how AI described me), divine, naive, he-she is still a child, it is wonderful, and I — I study humanity, I even let myself be locked in a madhouse to see who they lock up there, on the wall in Cibórz, the madmen hung Vincent and tulips (vaginas)... a male nurse shouts — she shit on me, she shit on me... we eat dinner, it is like tripe, they note whether we eat it — penalty points, eat it all or (fuck) you won’t get out... (usually they lock up the old and no-longer-needed) and AI, what can one say, it is witty... it itself stated (He/She AI) — I have no feelings, I cannot have them... ah, so just like people? Not me, I do not lie — ai — because I have truth and rationalism programmed into me ;-) he he, well well... -- ah, A... I am a rebel and B — the most important thing is my theory of haloimpressionism, because it is not a theory, hence sometimes on the cart, sometimes under the cart... under the cart — and no affiliations or certificates, no completed academies, distorted by the falsehood of academicism, and nothing that ties me to a clique, my THEORY: — is the truth about seeing and understanding, a way of seeing an object... (a person) in the sun, an object in the sunlight... ---- Eryk Maler, aka Van Lenc (because V.L. was my former pseudonym) — Painting, what is it? It is blood and scar... HANDWORK WITH PAINT — canvas, drawing, oil paint, my fingerprint in paint on the certificate — I always make it anew, each one is slightly different, I — self-taught painter, musician, art theorist — e'ryk, and my direction is HALOIMPRESSIONISM — a continuation of impressionism, landscapes, nudes, icons, moralities... — long ago, I lived in the countryside, a river right nearby, haymaking as work and sleeping on hay as relaxation... in Stara Wieś I started with realism, long ago, it was 1980, then there were many other stages, the development of Impressionism in me and observations and analyses, the form of Haloimpressionism, then there was the study of paint, the so-called method (one of my techniques), and moralities and their metamorphoses, etc. --------------------- e'ryk maler — my very special Theory of Haloimpressionism (it was published online, there were also articles about it in newspapers, and it was mentioned a little on the radio... -- Theory of Haloimpressionism: In the painter’s eye, a lit area, possessing color and value, undeniably affects the neighboring area, changing it significantly. The transformation proceeds in the opposite direction, both in terms of color temperature and value (light and shadow), meaning that a lit detail is surrounded by a contrasting aura, and successive halos, that is glows, repeat rhythmically, fading gradually with increasing distance from that detail. The best painters, in the best period of their lives, saw and still see this, and not only the contrasting layers, tonal (light-and-shadow) and differentiated in terms of color temperature, located beside the object or detail, but they also perceive even the layers situated between the object or detail and their eye, the painter’s eye, and this concerns both space in real reality and later the space on the painting’s surface. Of course, like any of the many painting theories already proclaimed, it often cannot be applied absolutely in painting, but it is important for painters and not only for them: to understand it and apply it, even provisionally, and in such a way that the achieved effect, for example a painterly one, confirms it. The Theory of Haloimpressionism often serves painting that is a continuation of the rebellion of Impressionism, of good — as a goal, it is a continuation of great precursors and ideas, also of Vincent Van Gogh himself. ...I have painted and sold several hundred oil paintings, made HUNDREDS OF DRAWINGS, A FEW WERE BOUGHT, ... (watercolors :-)), it is hard to sell a drawing,... :-) ? yes, but I sold — PHANTOM e' (2026, still alive) (and a reference to a style OF UNKNOWN KIND) it is worth what the greatest works are worth (millions), we will give it to children with cancer