Born in the heart of the Peruvian Amazon rain- forest, later moving to the capital city, Lima, to study Law at the Catholic Pontifical University, only to abandon his studies to live in Spain where he dedicates his full time to dance. A career that he successfully pursues for more than 20 years.
Throughout this time he finds refuge in painting as well a process of research and introspection.
He devotes all his time to the Plastic Arts.
2010-Icosahedron Gallery, New York, NY
2009- Biennale Internazionale del
l’Arte Contemporanea di Florence,Italy
2008- Brick Lane Gallery, London.UK
2006- Sala El Cachorro, Seville.Spain
2005- Julia Karp Gallery, Barcelona,Spain
2004- Julia Karp Gallery, Barcelona,Spain
1997- Sala Bassas , Magatzem d´art,
Castelló d´Empurias, Girona. Spain.
PROJECTS AND EVENTS
2010- Scenografie "Dame un segundo" -Danza Mobile Company,Seville.
2010- Scenografie(video projection design)-Cierra los ojos y Mírame- José Galan Dance Company, Seville
2010--Exhibition Organizer IV Festival International Escena Mobile, Seville,Spain
2009-Exhibition Organizer III Festival International Escena Mobile, Seville,Spain
2008- Scenografie "Descompasaos" -Danza Mobile Company,Seville.
2008-Exhibition Organizer II Festival International Escena Mobile, Seville.
2007- Exhibition Organizer Festival International Escena Mobile, Seville.
2010 -2005- Prof. Factory plastics arts in Asociacion Compania Danza Mobile. Seville.
2010- ”Erotismo y discapacidad”, Casa de las Sirenas, Seville.Spain
2009- “Babel”, Nave del Barranco, Seville. Spain
2009- “Up-Down”, Fundación María Fulmen, Seville. Spain
2009- “30 mil piezas”, Casa de las Columnas, Seville,Spain
2008- “Creatividad y Enfermedad Mental" - Le Créahm, Liege (Belgium), Centro Andaluz de Arte Contemporáneo (CAAC)Seville, Spain
2008- “Entrópica-mente”, Museo Histórico Municipal, Ecija. Spain
2008- “Danza Mobile”, Casa de las Columnas, Seville.Spain
The work of Nicolas Nishiky is intriguing to say the least. Dealing with the human body, Mr. Nishiky addresses human emotion through color and gestured brushwork, clearly being influenced by the modern masters with color choice and exaggerated proportions.
Majority of his figures are drawn in black using a variety of linear weights emphasizing certain areas of the figure. This allows the figure to occupy space as it comes forward and back creating atmosphere. That atmosphere is also established by the glowing colors of his surroundings or the negative space. Unfair to call this space negative simply because of the interests it creates in his paintings. This can either be a luminous glow or an orchestra of moving marks adding spontaneity in the painting.
The vigorous brush marks add to the feeling or emotion controlling the painting. Still unclear to the viewer what the figure is feeling but provocative to the individual letting the single viewer to relate to the particular painting. Definitely Mr. Nishiky is an impasto painter, painting wet into wet allowing the colors to mix on the canvas or paper executing a harmonious composition. Very informal with his approach again relating to the abstract expressionist, Nicolas still achieves form and content but giving us a soul such as William deKooning or even Modigliani did in the early 1900’s. That soul is the narrative we are intrigued with, wondering, absorbing and analyzing the message. Again what is the message? Different outcomes for the viewer depending on their mood, thoughts and background will determine that message.
Nicolas Nishiky is a bold confident painter living and dealing with today’s issues but leaving us paintings that are timeless. Timeless to viewers of any age, place, backgrounds, sex and beliefs providing us with either the solution or problem we face in today’s world.
Jason D. Zimmer
Professor of Art
Savannah College of Art and Design
Georgia- United States
In the beautiful tradition of early twentieth century Expressionism, Nicolas Nishiky’s figurative work, with the group name of ‘Search Dreams’, are images of men full of presence, volume and stature.
Proportions are tested, colours are bold and contrasting, positive/negative relationships are pushed and pulled leaving the remaining portrait to combat and embrace shadow and void. The relative simplicity of composition is balanced and compensated by the turbulent treatment of paint and subject. These men are not simply figures in space, but men of mass and substance…they have life and will which is explored and described by the intense physicality of the act of painting. The viewer is left to ponder who these beings are…friends, strangers, lovers…or a combination of all three? Or Nishiky himself.
The paintings force the viewer to consider the balance between image and media. Are we looking at the subjects through the paint, or is the paint creating the subjects? This relationship between the subject and the material is the crux of all great painting, from Rembrandt to Kirchner to Rothenberg. Nishiky does not back down from the question. He embraces his painterliness as he embraces his subjects. These are men, these are paintings…and they work as one.
Academy of Art University
San Francisco, California