For the past few years, I have been experimenting with the ideas of cubism, architecture, chaos and order. This comes through in my Unreal Abstracts.
I am interested in the relationship between the painting and the viewer. The painting doesn't exist without you, the viewer. Your opinion matters. Because it's not about what I painted, it's about what you see.
Einstein said, "Logic takes you from Point A to Point B. Imagination takes you everywhere."
The mountain village where I was born, as well as the mountain village works of Picasso, Braque, Cezanne, and Derain, helped me shape this series.
Due to connectivity and the loss of privacy in the electronic age, the city setting no longer offers anonymity.
The mountain village comes full circle in my paintings, where each one of them becomes a unique entity of intimacy and community. The Dream City Village, if you will.
Meditations on Dream City: Minas speaks of being influenced by painters Picasso, Braque, Cezanne, and Derain. When I view his work, I am reminded of the Romantic poets Keats, Whitman, Wordsworth, and Shelley, who I have referenced liberally. We are interconnected and trapped by ourselves, closer than ever and simultaneously farther apart. Nature seeps into Minas' work like an insanity, breaking through cracks and weaving through windows, breaking down all that we have built, like it always does, beckoning us back to its paradise of the mind and soul.(Jen Michalski)
I am very lucky to live in Charles Village, surrounded by beautiful architecture. But instead of painting one more pretty picture of our front porch, I decided to use the inspiring moments and my love for architecture to make a statement about the current state of division that keeps our ideas and actions stagnated on the drawing table. These paintings are inspired by architectural drawings of structures that have never been built or restored.
Minás Konsolas' new portraits mix a variety of materials on the canvas – in particular, the vibrant inks with the acrylic paints and oil pastel sticks. The infusion of bright colors into his formerly subdued palette of earth tones draws us into each of these portraits. The translucent inks are little bits of personality peeking out under a pattern of textured, gestural brushstrokes (which, by the way, mimic the corrugated ribs of his cardboard portraits from two years ago).
Many of the portraits are known personalities among Baltimore's artists and the faces seem to socialize with each other, forming a kind of community. There is a transfer of energy between the subject and the artist and the viewer. The triangulation shows us that these paintings are portraits of the artist and the gallery-goer as well. They are not literal, but they are a kind of likeness – personality portraits that are at once representational and enthusiastic.
- Michael Kimball
In the theatre world, the actor/character separation is always a dilemma. In the Ancient world, the mask was the solution.
I needed a change after painting on canvas for the last four years. In my case, the mask is my tool for impersonating a sculptor and re-working all the cardboard boxes that come through my store.
Minás Konsolas develops his canvases by adding and eliminating multiple layers of paint. He creates his images by scraping and smearing. This process allows him to paint and draw at the same time.