Completed over a three month period from the end of spring through the summer of 2012, Victor Victori's newest body of work is entitled CELESTIAL EXTRACTION and includes over 16 large scale works. The series is an experimentation in medium and an exercise in both color mixing and color isolation. However the paintings represent a significant climax in Victori's career where a focus on subject, control, and what he refers to as "tight rendering" have been relinquished, thus opening his mind and studio to a different dimension of creativity that he only briefly pierced the surface of in the late 80s to early 90s.

Through his 1970s born movement of art called “Multiplism”, Victori always demonstrated a mastery of technical skill through abstract portraiture and figuration in which he conveyed his subjects’ multiple emotional and physical levels via paint. His technical experience combined with a deep-rooted understanding of spiritual and philosophical ideologies across cultures often produced works revealing the inner souls and psyches of his humanistic muses.

His escapes into worlds of complete yet mindfully artistic disarray of the past are unquantifiable, yet very few were translated into large-scale abstractions wrought with indefinite expression. Before that world could ever be fully explored in Victori’s own conscious, the family man’s rolodex of responsibilities called for rational and productivity to take precedent. Not until his studio’s recent enlivenment was Victori able to spaciously experiment with materials and size during his mission to achieve color-driven textures typically unseen in past works.

Ranging from four to seven feet in length, CELESTIAL EXTRACTION celebrates a resurgence of vision, a personal achievement in style, and a rebirth of artistic creativity. The works echo scenes of astrological warfare between space and mass as the layered paint radiates outwardly and organically amidst the web of spherical objects bombarding one another. The primary color wheel is heavily pronounced while red saturates many of the paintings, highlighting the artist’s intensive and sometimes subconscious overuse of the color. “Red is dangerous, I always need to tone down the red,” Victori stated during a studio engagement about the work.

After moving to the renovated studio, Victori expanded his palette to include enamels, industrial paints, oils, and various chemicals, determined to attain the specific texture he longed for. Often visiting five to fifteen different wooden sheets a day, Victori’s process is to work on each piece until he sees there is nothing left to add at that moment. His revisit to the same piece the next day or the next week would often transform it into something completely new. Each painting in the series is an evolution of anywhere from six to twenty different images. It is not until a work makes the exchange from studio table to drying rack at least ten times before it can be considered complete -- a working process uncharacteristic of Victori’s usual speedy executions.

Victori suffered a minor heart attack following the completion of this series, making it truly symbolic of the climactic points in our human lives. The works’ compositions echo traditional ascension made over a career artist’s lifetime, their technical construction reflect a true artist’s dedication to personal innovation, and their message represents that of a genuine visionary in that everything in life should be seized no matter how large or unrealistic; because cosmic unexplainable forces will always be at play.

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