Michael Stervinou: Methodic Flow
Spontaneity is an invaluable facet of the artistic process. It can be seen in a work as it stands on its own and has a natural-instinctual vibe that can be felt and understood by a wide variety of viewers.
For years, French painter Michael Stervinou has let his imagination out to the public through the sheer genius of his pyramidal artistic method. Each stroke of the brush formulates the plot for the next.
When describing the large part of his creation being derivative of instinct, Stervinou revealed his belief that, “too much reflection kills the natural. Sometimes it’s as if my hands are choosing alone the colors she wants to spread on the canvas.”
It should be assumed that the aforementioned she refers to Stervinous hand. The interview had some grammatical hiccups, but much credit to the artist, as the journalist couldn’t even do half the job translating the other direction into a French interview.
The artist, who jams on his paintings like The Dead used to jam on rifts and rants with a lack of any high form of preconception, maintains a specific artistic process.
Stervinou told LTM in a recent interview, “When I paint, I always do it in a closed room. No exterior natural light. When creating, it’s too aggressive for me, so I prefer to do be in a medium light room. Then, when the painting is over, I can discover it in a natural light.”
This specific process, which also includes a necessity for music to be playing–genres ranging from opera to trance, plays for an interesting dichotomy with his free flow nature. The whole process, when broken up, truly emulates the parallel significance of order and chaos in creation.
Another tier of the creative process that essentially determines the livelihood of ones work is networking. It is safe to assume that the further one travels with his or her work, the longer reach, wider influence and, ultimately, greater potential for the art and the artist.
Stervinou has been shopping his work around Paris, Los Angeles and New York City for the past several years. Aside from the obvious power of traveling to such artistic meccas, Stervinou’s experiences have exposed him to new eyes and new opportunities.
Last summer Stervinou took his newest collection at the time, Passionata Earth, to venues such as Sunset Boulevard, the Agenda Loft and the Godo Gallery.
“I love showing my art in the USA. People are so nice and open minded to a young artist.”
Stervinou elaborated on the experience of showing his art abroad, “You know showing art in France and the U.S. is totally different. I like the style of America, to welcome and help me to prepare an exhibition. They are more open to free style show than in France. France is more coded.”
Stervinou went on to compliment French art, mentioning the Louvre in particular. Looking at such a dynamic stance begs the point that there is no one place better than another, but exploration is the key to an artist finding how him or herself in particular can spread their influence and speak through their art. Success in France was valuable for Stervinou, but it is only a fraction of what he has become through bringing his art to a completely foreign environment.
It has also led to new opportunities.
This was not Stervinou’s first cup of coffee with the continental art scene. In fall 2010 in L.A., he met a fashion designer named Amie Marie Goetz. The two discovered a peanut butter and jelly vibe between their artistic personas and decided to pursue some collaborative works.
Goetz went on to print Stervinou’s designs onto silk scarves and tops. The experience was philosophically and spiritually enriching for the artists.
Stervinou said of Goetz, “She has a brilliant artistic vision. I like her sense of aesthetic.”
This attraction led to the collaboration, which led to Stervinou’s conclusion that, “Listening to others is primordial. This is 80 percent of success.”
It seems that the remaining 20 percent must consist of whatever drives Stervinou to concoct these vividly colorful, energetic and ebb-like paintings.
Such a drive, as with any artist, derives from a variety of sources. A major one being that the artist must want to be creating to create something worthwhile.
“I paint only when I feel it. Indeed painting without any feelings, painting just to paint, makes no sense- without putting passion on your art work, nothing magical can really happen.”
In a similar vein, Charles Bukowski once began a poem with the words: “If it doesn’t come bursting out of you / in spite of everything / don’t do it.”
In the poem, Bukowski went on to say, ”if you have to wait for it to roar out of / you, / then wait patiently.”
In addition to having a sincere drive to create, Stervinou passionately believes in the need to stock ammo. He thrives on capturing a moment, it’s the closest thing to a blueprint any of his work will ever have.
“I am constantly researching for beauty around me. I also like the fact that the color I made, the gradation is set forever on the canvas. I like the fact that the emotion of the moment is fixed on the canvas, even if this moment flew away forever.”
When taking in the freedom of a Michael Stervinou painting, reminiscent of flowing wind, it’s soothing to know there is some method to his chaos and some general directions on how to find one’s stage.
Much of his work and more information on Michael Stervinou can be found on his WEBSITE