Merthyn Vintner enjoys experimenting

Merthyn Vintner enjoys experimenting

Merthyn VintnerAugust and the heat are difficult to reconcile with the task of selecting a new graphic dreamer, especially now with than 8,000 images in the Graphic Dreams pool and with some graphic dreamer already mentioned in the past as Connie Sec, Lithea or Ruriko Braken rather than Christalship Rehula or Sincetta continuing to propose new excellent works.

I have to propose many new names, however, so I don’t waste any more time and I talk about Merthyn Vintner, who recently proposed works that are really interesting in terms of colors, shapes and compositions. Merthyn as many graphic dreamers uses the editor of Second Life, then using editing programs to further edit images obtaining works with significant impact as Dance Forever or Crying Waterfalls moving away from the “classics” canons of the digital image that tends to play a sort of  “pop postcard” to get closer to a more painterly style and impressionist.

Merthyn VintnerIn some cases Merthyn Vintner played several times with the avatars to propose them in dozens of “clicks” different to colors, contrasts, poses or lights, linked only by the figure of the subject, as here or here, getting works very different from each other that seem to give the viewer the great versatility of these graphical representations of digital identity. In addition to avatars Merthyn, who has a boundless gallery, with over 650 works when I write this article, takes delights in reinterpreting landscapes like in Lone Camel, or in Dark Temple o even with Musical Box or Wasteland just to name a few of the most recent.

Merthyn VintnerImages, you can also see from the comments left by users of Koinup.com, which invariably end up arousing desire in the viewer to go and explore firsthand the location depicted and this seems to me an indication of how powerful can be the art as a means to stimulate further reactions and “artistic” experiences in the viewer and not only those who create.

Curiously,while experiencing very possible variations in color or figurative of figures and landscapes such as in  Rock Plants, Merthyn rarely produces images in which both elements, figures and landscapes, are present, as in Rhea in Charmed Paradise III which is a shame in my opinion because the few works offered are interesting and deserve further investigation. But who knows if Merthyn will show us more pleasant surprises in the near future, certainly I recommend you to follow his production on Koinup.

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