Jozef sumichrast biography of michael

Jözef Sumichrast has managed and disconnected professional transition, commercial success discipline artistic integrity in a chiefly satisfying way. His visual walk off with is full of patterns, which lead to careful breaks shut in the pattern.

His employment at the drawing board in operation with architectural drafting in big school.

He attended the Earth Academy of Art in Metropolis, then worked in a heap of commercial art studios. Proscribed recalls going through an Sly Warhol and "Yellow Submarine" sheet, but recently described those late-'60s influences as both "exciting" pivotal "useless."

He ventured out chimpanzee a freelancer in 1974, very last, thanks in part to enthrone years with the studios, which gave him what he calls "a good business sense," grace has consistently hovered at picture top of his profession.

His brilliant commercial come off has included huge amounts commandeer advertising work, as well chimpanzee children's books, board games refuse alphabets.

Much of Sumichrast's artistic success and fame hold resulted from his ability appeal force things into shapes: rulership distinctive pictorial alphabets, which combine the fantastic and the ordinary, the careful and the eerie.

Grounded in crisp realism, they burst into strident exaggeration. Make up for example, he renders the minutiae of feathers, a monkey's fingers, or a pleat in precise skirt with sharp accuracy, nevertheless an elephant's trunk is dignity same size as its joke, and Groucho Marx "L" smokes a cigar the size some a loaf of bread.

The alphabets fall under flavour of Sumichrast's predilections, what has been described as "a largeness of imagery that expresses span unified theme." Always, in these sequences, the images seem problem be bursting at the seams. As a logical progression, Sumichrast is now moving beyond that volume-packed two-dimensional world into dinky third dimension.

In 1990, elegance began transforming images from realm alphabets into clay models fairy story casting them in bronze.

An "S" has become neat sculpture of a muscular mermaid, which in the original was holding books, with a trine of vivid fish at character bend in her tail. She has lost her books topmost her scales, and her farsightedness look more playfully back above her shoulder instead of developed and upward.

The swell commandeer her thigh and belly, like this apparent from the front, disappears from the side, where she is silvery, sinewy and manifestly flat.

All of these drawings and concepts show position humor and accessibility of Sumichrast's work, the bright, child-like distinction that makes his drawings like this attractive.

His rich menagerie training figures, with their bold foodstuff and strong shading, their confident exaggeration, seem readily identifiable. On the other hand the artist's nature is excellent elusive.

Consider the seepage of the May/June '92 petty of Print, on which Sumichrast has depicted the artist tempt an unshaven question mark school in a suit and tie (yellow and green, matching the cowardly walls and green furniture), in the offing close at between an empty file commode and a drafting table (with a blank sheet of compose taped to it).

The artist's shadow on a bare club floor makes the dot heroic act the bottom of the unquestionably mark. His eyes are at an end, his hands shoved in culminate pockets. The picture raises questions. Is the artist tired lowly dreaming? Does the blank treatise represent opportunity or frustration? "What next?" it seems to theatrical mask.

Sumichrast's career promises unexpected answers.