Female Samurai Warrior, abstract painting. Painted 2016 to 2017 by British artist, Gheorghe Virtosu, b. 1968. Abstract art, Oil painting,, 79 cm high by 74 cm wide. 31 X 29 inches. | samurai art, japanese samurai art, samurai wall art, samurai concept art, art samurai, japanese samurai painting, japanese painting samurai, famous japanese samurai paintings, paintings of samurai warriors, samurai oil painting, famous samurai painting, samurai abstract.
"She had long black hair and a fair complexion, and her face was very lovely; moreover she was a fearless rider, whom neither the fiercest horse nor the roughest ground could dismay, and so dexterously did she handle sword and bow that she was a match for 1,000 warriors, fit to meet either god or devil.”
The figure is suspended in space, prominent and advancing in a field of reds and gold and outside of any discernible earthly locale. Time too seems frozen, and the multifaceted rendering of the figure shows it in motion that is halted by the fixing eye of the artist and spectator. This abstract painting picture is not so much a reportage of a female samurai but more a record of the aesthetic response to the subject which the spectator is invited to share.
The figure is not exhaustively portrayed in detail but more indicated through the prism of the medium of oil painting which, by this lack of finality, is implied to be either a discursive observation of the nature of perception, of self on the artist's part and of the world, or an acknowledgement of the medium as provocative of thought that open-ended. This inconclusiveness prompts a creative interpretation on the part of the viewer, with the artist shrinking from a simplistic statement in order to deploy a nuanced suggestiveness that engages.
As such, Gheorghe Virtosu 's abstract art here is anti-totalitarian because it does not commandeer the reins that control meaning but rather envisions signification in a social realm of dialogue. This is highlighted by the tension and flux between the figurative and the internal mechanics of form and color. This is no hieratic and insular modernism but a conversant discourse between formal means and expressive ends that sees meaning-formation as a perpetual and communal enterprise.