Alexander Sutulov
Alexander Sutulov

Alexander Sutulov

Artist from Santiago, Chile
Alexander Sutulov was born in Concepcion, Chile in 1962. He attended the Institute of Contemporary Art in Santiago from 1980 to 1984 and continued his study of art at the College of Fine Arts, University of Utah from 1985 to 1987.

From 1988 to 1990 he worked and collaborated at artist co-op Art Space and Stonehenge in Salt Lake City, where he researched hand built techniques with stoneware, porcelain, wood and metal. Later on, he was invited to work as an independent artist at the University of New Mexico Printmaking Department in Albuquerque from 1990 to 1992, where he was able to experiment with various printing techniques such as: intaglio, woodcut, lino-cut, relief work at general including viscosity printing, lithography, silkscreen, and mono-type.

He continued his graphic work where he specialized in the use of positive and negative photo transfer lithographic plates for hand-printed limited editions at Black & Blue Press, Golden, New Mexico. In parallel with graphic artist Michael Gienger, Atelier Sutulov-Gienger was created from 1992 to 1994 in Albuquerque, New Mexico. From 1994 to 1996 he divides his work between United States and Chile where he introduces digital art techniques into his graphic work, producing his first digital murals at Folio-D in San Diego, California.

Since 1990 he showed several graphics work in selected Group and Solo Exhibitions in Argentina, Australia, Canada, Chile, China, Dominican Republic, England, India, Italy, Japan, Korea, Mexico, Slovenia, Taiwan and United States.

Since his return to Chile in 1994, the artist has been part of a variety of corporate and institutional art projects such as: Gasco Energy Sculpture (2000), History of Chilean Mining Mural (2005), and The Andes: Vertical Column of America Mural Project (2010).

The artist studio is currently devoted to a wide range of visual art projects regarding both institutional and corporate entities in the realm of public art for permanent public art installations. His current projects are SPIRITS OF THE MIND Santiago College One & Only 5.00mt high x 30.00mt long permanent mural installation for Santiago College new campus and lastly, an exhaustive morphological study of Chilean rainforest dealing with more than 21 native species:

Chilean Native Forest Survey: amongst the 21 species which comprehend the current study of Chilean rainforest comes to mind the concern about the destiny and protagonist role of tomorrow in the context of a globalized world which will intrinsically depend on an environmental economy. Together with its out bursting beauty which reveals itself through its morphology, give reason to Chile´s singular geophysical dimension, from its foliage, particularly in what is understood as the cold rainforest or Patagonia; results a water resource and fresh water quality that nourishes so much fjords, snowdrifts as glaciers.

A morphological study which considers an average of 200 picture frames per tree, seeks out more than an objective view, such is the case for conventional photography in the sense of capturing natural light under one single frame, the more subjective aspects where the variant of light is a byproduct of multiple exposures. This construction in the form of horizontal and vertical panning is the basis of an exotic landscape the same way nineteenth century naturalist Alexander von Humboldt, described the extraordinary geographic and geological condition of the New World.

Species like Lenga (Nothofagus Pumilio) or Coihue (Nothofagus Dombeyi) which in some cases manage to survive over 800 years at the base of active volcanoes makes explicit the contortions of its branches which absorb the nutrients of richly mineralized subsoil. This authentic explosion of nature intertwines its delicacy in the nearby brilliance of an unpredictable volcanic world.

We have been eyewitness in how historically Northern Hemisphere densely populated countries; human existence depredation over nature has been irreversible. In this respect, the role of more insular countries like Chile will require twice the responsibility on behalf of its inhabitants that goes for the well keeping of a natural autochthonous legacy in the same measure we may consider, an everyday conscious awakening about its true richness.

In the context of the above, the work to be done has a horizon in how to deepen qualities which singularize Chilean landscape from an autochthonous perspective. When we ask ourselves the reasons of such a curious geography; great part of the answers lies ahead precisely in descriptive aspects of its morphology. Part of an identity and sense of belonging process relates to a greater commitment to the wellbeing of a community. The luxury which represents the coexistence with a unique surrounding and the learning process for it to become part of our own existence is a path where many places in the world sadly enough can no longer afford.
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