Rolland Berry is a contemporary artist whose work bridges the gap between fine art, neo-pop art and graffiti.
His art work is included in Swizz Beats “The Dean Collection”, Dietch projects, Urban Nation Museum Germany, Xian Museum of Modern Art and Joe Manganiello and Sofia Vergara art collection. Rolland has collaborated with Levis, Adidas , Reebok , Barneys of NYC and many other numerous private collection and clients.
Jumping from free large murals and pop-icon portraits to smaller works on paper, silk-screening, aerosol and hand painting; he is a true mixed media master. Inspired by color, history, modern culture, deconstructionism or physics, Rolland has built a brilliant identity using powerful elements such as bold collages and unique color concepts, which are always guided by his own rules and sense of style. His aim is to create art that expresses his unique message and views of fine art and street art as one. Much of his day is spent working in his studio and waiting for the night to wheat-pasting and create art for the streets.
Rolland is also an awarded professor of modern art who teaches and lectures around the world.
An essay by Steve Metzger
April 15, 2009
I have been painting for around forty-five years now and have seen a lot of changes in the art world. Through it all I have emulated different artists and styles that have come along , so, overall, my work might seem to lack continuity. Maybe it does, but so does our culture. Once , the only way to depict something was to draw or paint it. Now there’s digital images…you can capture an image with a cell phone and send it around the world. Why bother painting anything? Especially, a copy of a photo. Chances are, the painting will be lacking in the detail the camera can capture anyway.
So why do I do it?
The bottom line is, I enjoy painting from photographs (and digital images). I like looking at the painting when it’s in progress and when it’s done. I like the details in photos, and the way the camera crops the image, camera distortion, the monocular view thru the lens. I enjoy using the projected image to create compositions and block in territories quickly. I think of photography, digital technology, and the projected image as contemporary tools available for artists to use freely to create paintings.
Occasionally, I’ll set up a still-life in the studio and paint it traditionally, or I’ll go to various locations and paint “plein-air” paintings, but I would probably never participate in a “paint off” because I feel the only competition I have is with myself.
When a painting is finished it’s a movable piece of real-estate, it affects the space around it. I enjoy that aspect of my painting also… The perception of the finished work. It’s slow, it changes each day. Sometimes the light rakes across the surface and the painting dies…but sometimes I feel pretty good about. Looking at a painting, living with it, is so different than watching TV.
I am definitely one of the latter, I would love to sell my paintings, but not at the expense of the love of painting, or sacrificing too much time to the business of art. If what I have accomplished in a lifetime of art means anything, someone else might someday sort it out…in the meantime, I’ll be working on the next painting.
After moving to the US in the late seventies, Eduardo Studied at the prestigious School of Visual Arts in NYC, a school also attended by eighties street art icons Keith Haring and Kenny Scharf. During his stay in NYC he met Andy Warhol by chance in the Village, exchanged a few words and Warhol invited him to his Birthday party at Bonds.
Even though NYC had a lot to offer him, he had a hard time balancing his art and his passion for surfing there, so he took a year off to chase waves , backpacking and camping in remote areas in South America.
By 85 he moved to Honolulu, where he earned a living painting surfboards including for world champions such as Shaun Tomson, Martin Potter , Sunny Garcia and also painted a board for comedian Dana Carvey. He soon became an art director for surf brands like Local Motion and Blue Hawaii while also designing for Gotcha, Quiksilver and Billabong.
He also designed concert posters during his early years in Hawaii, in 88 he created the poster for the May 8, Miles Davis concert at the Waikiki Shell, Miles was so impressed with the art work that he asked Eduardo to sign it for him. They met again on his last visit to Hawaii and Miles invited Eduardo to visit him on his next trip to the continental US. During that period he met several musicians like Carlos Santana, Dave Wakeling , Bo Diddley, Patti Labelle and many more.
His unique style caught the attention of Myles Tanaka, art director of VH1, and soon after he was creating animations for the music channel. In 91 he became the ABSOLUT HAWAII artist, participating in the “Statehood” campaign that was published in USA Today, Newsweek and Time Magazine, in 93 he was asked to move back to his native country Uruguay, to create the piece for the ABSOLUT URUGUAY campaign. That same year Bolioli signed an exclusive agreement with an art publishing company with galleries in NY, San Francisco and Los Angeles.
In 94 Absolut Vodka changed hands and dropped the campaign and by 95 just before the birth of his first son, the art publisher closed without notice and disappeared with all of Bolioli’s work. With a new family to support, Bolioli quit painting and worked in marketing for a beverage distributor. He raised his two boys in Uruguay, and in 2014 he left South America for Honolulu once again.
Once in Honolulu he searched for work and even considered construction work, his friend professional surfer Jun Jo, convinced him to stop wasting time, and told him to start painting again and gave him a one man show at his In4mation store. Since then Eduardo only lifted a hammer to hang his work.
In the past two years Bolioli had numerous art exhibits in Hawaii, California and Uruguay, his work was also published in Italy as part of the book IRio by Benedetta Tadei, Posca markers are now publishing a new book in France featuring Bolioli’s work as the artist pioneer who started painting surfboards with Posca markers.
André Renoux was born in Oran, Algeria, in 1939, and when he died, much too young, in Paris in 2002, he was regarded as one of France’s national treasures.
The “father” of the Paris School of Urban Realism, the most credentialed Urban Realist (and one of the most respected in Europe), Renoux was known as the peintre-poete (painter-poet) for the beauty of his images. At home in many cities, he made Paris uniquely his own, capturing its history and soul, its sounds, smells, tastes, and textures — just as you would find them in your own experience and imagination.
Regarded as the most credentialed 20th century Parisian Urban artist, Renoux became the godfather of artists in his time. Renoux made Paris his own by capturing and protecting the sounds, smells, tastes and textures of the City Of Lights in his own unique expression of brush to canvas. Highly respected in Europe, Renoux is truly one of France’s national treasures. He has now joined the gallery of great artists of the ages. As time goes on, he will be remembered as the artist who captured Paris in the 20th century.