Saeed
Danosian is the prototype of the creative Renaissance Man.
Not only is he a classic innovator in painting, he is
also well versed in some other areas including carving, stage
design, mural painting as well as being a professor of Color
Theory, Perspective, Art History
and Interior Design.
For Danosian,
artistic creation is a means through which man comes to
understand himself
and the world. It becomes
for him a kind of universal religion. "The painter's
task is not the faithful depiction of air, water, rocks and
trees," he says. "His emotion should be reflected
in it."
But the very possibility
of reflecting one within the other is a feature of his
romantic mentality.
Danosian’s
favorite medium for artistic creation is the relief, which
he implements by carving into PB-10 boards. The goal of his
work is to enable mankind to recognize the ultimate unity
that binds all people together. To achieve this, he always
combines in his work two major elements: woman, the intrinsically
elegant wellspring of life, and music, which he represents
as all or part of a musical instrument. From earliest time,
the proportions of music were thought to govern the proportions
of both the heavens and the human body. In fact, early treatises
spoke of musica mundane (the music of the spheres) musica
humana, (the music of the human form) and musica instrumentalis
(instrumental or "performed" music) and showed
how they were proportionally related. Viewed from his perspective,
it is not difficult to see how woman and music can be combined
in various ways to suggest human unity.
Danosian employs both abstract and
realistic techniques. The individual elements that make
up his carvings are eminently
recognizable individually, yet combined in abstract ways
reflect his view of them as "dimensional images that
float infinitely." The "floating," however,
is not random. Each carving treats the woman and the instrument
as a separate elemental force derived from the inspiration
he receives from the spirits around him. These combine in
various ways and cause the energy that derives from their
combination to converge at a particular focal point in space
that may be on or off the carving- typically but not always
in the direction in which the woman appears to be looking.
Generally, the woman’s hair is flared, even appearing
electrically charged at times, and in all instances gives
the impression that is absorbing and concentrating energy
that she will release towards the focal point, once in others,
implied by simply "addressing" the instrument in
some way. The eyes of the woman are
always closed because the energy she concentrates is released
on a plane above that of visual reality- just as the musical
harmony achieved by the combination of the free-floating
elements in the scene is present only at a level of consciousness
above what can actually be heard.
To learn more about Saeed
Danosian and his art, please visit his website at www.danosian.com.
This article has been published
in partnership with OCPC Magazine. OCPC Magazine is
the premier Arts
magazine for the Persian Community in Orange County,
California.
For more information about OCPC Magazine or to
read more OCPC
articles,
please
visit their website at www.ocpcmagazine.com.
Saeed
Danosian is the prototype of the creative Renaissance Man.
Not only is he a classic innovator in painting, he is
also well versed in some other areas including carving, stage
design, mural painting as well as being a professor of Color
Theory, Perspective, Art History
and Interior Design.
But the very possibility
of reflecting one within the other is a feature of his
romantic mentality.
Danosian’s
favorite medium for artistic creation is the relief, which
he implements by carving into PB-10 boards. The goal of his
work is to enable mankind to recognize the ultimate unity
that binds all people together. To achieve this, he always
combines in his work two major elements: woman, the intrinsically
elegant wellspring of life, and music, which he represents
as all or part of a musical instrument. From earliest time,
the proportions of music were thought to govern the proportions
of both the heavens and the human body. In fact, early treatises
spoke of musica mundane (the music of the spheres) musica
humana, (the music of the human form) and musica instrumentalis
(instrumental or "performed" music) and showed
how they were proportionally related. Viewed from his perspective,
it is not difficult to see how woman and music can be combined
in various ways to suggest human unity.
Danosian employs both abstract and
realistic techniques. The individual elements that make
up his carvings are eminently
recognizable individually, yet combined in abstract ways
reflect his view of them as "dimensional images that
float infinitely." The "floating," however,
is not random. Each carving treats the woman and the instrument
as a separate elemental force derived from the inspiration
he receives from the spirits around him. These combine in
various ways and cause the energy that derives from their
combination to converge at a particular focal point in space
that may be on or off the carving- typically but not always
in the direction in which the woman appears to be looking.
Generally, the woman’s hair is flared, even appearing
electrically charged at times, and in all instances gives
the impression that is absorbing and concentrating energy
that she will release towards the focal point, once in others,
implied by simply "addressing" the instrument in
some way. The eyes of the woman are
always closed because the energy she concentrates is released
on a plane above that of visual reality- just as the musical
harmony achieved by the combination of the free-floating
elements in the scene is present only at a level of consciousness
above what can actually be heard.