ARTICLE

REVERSE IMPRESSIONISM

REVERSE PAINTING ON GLASS AND DRAWING FILM

“It is part of my inner journey to transcend through styles and expressions to identify myself with original interpretations of existing expressions through my own experiences”. 

“The drawing film is transparent, featuring a quick black ink drawing on one side and filled areas of paint, often using metallics or vibrant colors. It embraces spontaneity, allowing for crossed lines as it will be viewed from the other side. The grand finale involves a coat of paint covering the subject, identifying the background when visualized through the drawing film from the opposite side.

Speed is crucial; it’s spontaneous, unconstrained—a hard-to-describe movement. I create 20 quick impressionist drawings per day, with quick impulses, sketches, and minimal detail, influenced by my classical education at Liverpool College of Art. This education, emphasizing pencil and black ink, akin to Chinese calligraphy, facilitates adapting to brush and ink drawing.

After two straight years with a pencil in hand for life drawing and architectural rendering, transitioning to drawing with a brush and ink becomes easier. This training teaches how to identify a subject with a few lines. Without such education, artists may struggle, often concentrating too much on detail, hindering the desired impression based on the chosen style.” – Paul Ygartua

YGARTUA IS AN IMPECCABLE DRAFTSMAN

Ygartua’s remarkable drawing ability surfaced early on, painting alongside his mother. This skill became invaluable as he pursued studies at Liverpool Art College, specializing in Industrial Design. Whether sketching ecclesiastic chalices, designing silverware, jewelry, or furniture, drawing played a central role in translating ideas into tangible forms.

With a degree in NDD-INDUSTRIAL DESIGN/GOLD & SILVERSMITHING, Ygartua’s classical education and innate talent naturally guided him toward drawing across various genres, including abstracts influenced by his classical background.

His proficiency in technical drawing and drafting is indispensable, allowing him to visualize and produce a diverse array of subjects at a rapid pace. Working for 8 consecutive hours, creating over 20 art pieces, Ygartua finds the process exhilarating and intoxicating.

This rapid style empowers Ygartua to offer uncontrolled interpretations of his subject matter, allowing his imagination to roam freely into the realms of fantasy. The result is a mystique, a primitive perception, unveiling a new vision of reality.