Total art, Land-art, Painting, Theory, Photography.
I have studied painting since discovering, at the age of about 10, a work by Vincent Van Gogh. As a teenager I was first influenced by the writings of Kandinsky and Klein. I later discovered Van Gogh’s letters, Delacroix’s journal, and Leonardo da Vinci’s carnets. It seemed to me that painting was the basis for the language of the social imaginary, and of our relation with reality. It is the source of the psyche.
Since 2005 I have been developing pictorial and conceptual bi-phony, resonating in the dynamics of dialogue between art and life. My work involved a dialogue of dimensional aesthetics. With oil, I expanded possibilities of Prussian blue oil paint by a development of a sculptural painting technique to catch the movement of light on figurative images. This technique helps me to unbalance one image: through the movement of light, abstraction is unveiled. The Prussian blue oil revolutionized the perception of shadow in Japanese art and in European Impressionists painting in the late nineteenth century. What can it offer today ?
I look for the vibrations of reality and of perspective. My work is about optic.
As Alan Tod — self-proclaimed vibrationist artist by writing “Essai sur l’art vibrationiste”— I am first and foremost an artist of the forest, and my sole ambition is to spread the song of the trees across the earth. From a theoretical point of view, I am a painter of the classical questions in art, and as such I serve nature, its beauty, and its love for humanity.
Regarding pictural dialogues, I was allowed to experiment conceptual biphonia with university of Lisbon, with comparative anatomy draws between 2007 and 2011 at a first time. Then in a second time i was allowed to experiment conceptual polyphonia trough Europe, Asia and US : With the love campaign poject on a side and with the editorial team of "les cahiers européens de l'imaginaire" and "Cacao europa" on another side, from 2009 to 2014.
Looking for totality even more, the 1st december 2014, as a painter called Julien Isoré I decided to die. By a night in the garden I was replaced by Alan Tod, FOREST artist and i am looking for now planting forest as an ultimate piece of art.
Planting forests, awaiting the eagles’ return is the sound of the new economy and new spirituality. A forest is a family, a new state of mind for human kind. The Vibration between life and death, darkness and light, water and sun, soil and sky is making the green melody of a landscape painting.
FOREST is, in and of itself, a living, vibrationist work. It was proposed tangentially to the pictorial research into polyphony, and its aim is to propagate the growth of natural forest, with the help of humanity. As such, the project produces forests, stories, photographs, films, paintings, and installation performances.
Adhering to the collaborative tradition of painting, the FOREST questions accepted truths, and brings the spectator into this debate. As the heir to all art, this living piece can be seen as the ultimate work of love between nature and humanity.
From a purely pictorial point of view, FOREST is akin to Claude Monet’s undertakings in Giverny, where he planted his garden before painting it.As an objet d’art, FOREST is a work of ‘inspired botany’; the continued transformation of the Sintra forest and the Park of Pena in Portugal, a botanical forest planted in the 19th Century by King Ferdinand II of Portugal, who was nicknamed the Artist King.Today Sintra forest is renowned for its positive environmental impact. FOREST is a continuation of this same spirit.
Using sincerity as a key for humility, I try to use constraint as a freedom or a chance.
There is nothing to invent, only to discover.
With others :