Gromyko documents the experience of the human entity, his works ironies, metaphors, and paradoxes. He summons within us the sleeping child, the questioning, un-conditioned - yet long dormant - desire to know, to doubt. Through his pieces we sail through the realisation of evil, hypocrisy, and perversion in order to change it for good. He believes that a visionary approach to art, as dali would have put into words,"a combination of mysticism and nuclear physics(science), is the only hope we have to look forward in art.
As to his own works, Gromyko emulates a sense of the visionary and, even though he stands on the shoulders of artists from the past as sources of inspiration, he pushes the limits of past discoveries towards the future through his pallet and brush. He is at the frontline of those that seek to propel the future of art as a future heading towards a self-cognizant, neo-renaissance spectacle and this duty Gromyko feels he must undertake to periscopically see through time...with mysticism and psychology along with metaphysics...and discover the extent of the gift from God....
Gromykos Dream is one of passion and meticulosity, an artistic revolution, a discovery of truth:
The revolution of the mind involves not only the mind but also everything in this concrete materiality...hand in hand, brother to brother, a utopian vision it may seem, but by showing the ugliness of lies and the bitter truth, in religion, in everything, I see that there is still hope...the artist must learn to navigate and show this movement towards the future in his art...that dream, even if I myself in absolute self cannot achieve, the glory of pursuing such is worth the price Im paying and worth the sweat Im excreting...
visionary surrealist, born Gromyko Padilla Semper, January 13, 1985...
Favourite artist: Dali,Beksinski ,Matta, De Chirico, Picasso,Rembrandt, millet, Ernst,Ralph Steadman, Velasquez,rothko, goya, durer Favourite poet or writer: Anne Rice, Jose Rizal, Edmund Dantes, andre Breton, Stephen King, Blaise Pascal Favourite photographer: Helmut Newton Favourite style or digital art: Surreal,abstract Expressionism, Post impressionism, Picassoesque
Personal Quote: Emptiness Are Made To Be filled!!!!
Tools of the Trade: My cheap ballpen, Pencil, Watercolor,Acrylic and Mixed Media…Read More
SACRAE PARTICULAE EX NIHILO: THE ART OF GROMYKO PADILLA SEMPER,THE BOOK
Introduction by John Paul Thornton
There is a sleek body of a young man stretched out across a freshly paved asphalt road. His skin is golden and glazed, like the surface of a fine painting. With his head, he gnaws into future, which promises freedom from cultural confinement, a flurry of literary courage and unwavering song. Yet, with his hands, the young man scoops deeply into a pre-Renaissance dawn… the days when the plague was still dancing on the backs of rats and Science was a brazen, posturing toddler, belly full of poetry.
There is a sleek body of a young man, and his name is Gromyko Semper.
Gromyko is an artist who suckled the breast of knowledge and refused to unlatch. While other global babies drank a mixture of popular lowbrow –culture and weaned themselves of further sustenance, Gromyko seems to have arrived hungry for the richer and more dangerous cream of ancient regimes.
The rebirth of Surrealism as a viable modality has, (as have many renewed branches of expression) been stoked through the grand technology of our time. The fact that Gromyko has global collectors, global audience and an understanding of broad history can be linked directly to the internet. I, in fact, came to know this artist through a casual social-networking site, the technological equivalent of le café de Deux Magots. Simply put, artists (and collectors) no longer need to venture to Rome or Paris to become immersed within the current. They only need to click on line. Today, the concept of the artist as a lost, unnoticed genius is no longer possible. In a previous medieval decade, Gromyko might have fallen into that purgatory. Through our technology, through the joyous publication of this volume, Gromyko is freed from nationality, region and school. He has become a respected and fascinating voice in the global Surrealism movement.
Versed in the visual language of Italian and Germanic woodcuts, Gromyko has developed a delivery-system of careful emulation and slight-of-hand, coaxing viewers to believe that they are coming face to face with lofty and certified prints from a quaint, historical age. Upon contemplation, his images reveal themselves to be contemporary works that contain our own epoch’s concerns and outrages. But Gromyko does not smirk to us as he presents these visual ironies. He looks us squarely in the eye, daring us to blink. After all, Gromyko is more than a mere blasphemer. He has spent his young life, it seems, learning how to articulate heresy like an authentic lover of truth. Strip-mining across time, borrowing aesthetics and bringing icons down to earth is fair game. In the hands of pranksters it remains merely irreverent. Gromyko refuses to linger in that superficial state of play. He shares us with his intellectual rage of knowing too much. He demands that we too remain sharpened and fortified enough to withstand a trip through his prolific visionary world.
John Paul Thornton, Professor of Art History, Pierce College.
Author, “Art and Courage: Stories to Inspire the Artist-Warrior Within”