Over the last year I have experienced an awakening of sorts. About five years ago I started to transition out of a full-time career in design to enter into the world of fine art. In my first years as an artist, I blindly followed my heart to explore two series, (The Day God Spoke & The Women) which were about complicated subjects and emotions. I forced myself to dive deep into these subjects, which were painful. Now as I look back at the work produced during that time I realize that it was necessary to analyze those dark materials to see the light on the other side.
After the birth of my children (I had twins) I started to see things through the eyes of someone that had never seen them before. Watching how a young mind contemplated wind through beach grass or light shining through crystals that produced rainbows on the wall, stimulated me. I began examining my own subconscious by using my mind like a prism and divided the world I saw into multiple colors and abstract representations of deep-rooted memories. I was inspired by sensory elements of experiences, explored the excitement of brilliant color, seeing the beginning of the purity of a new life, and light on a different plain by transcending to a new level of consciousness. In my work I depicted impossible abstract representations of an experience as well as a representation of a physical reality to portray what things are and what things should be. I concluded that I want a viewer to be lost in awe of the intensity of the atmosphere that surrounds us.
In my work I explore my ideas that are rooted in street art, surrealism, abstraction, collage and realism, but most of all a connection with the universe and the creative consciousness. I appeal to the duality of the mind by representing both a rational and emotional approach to all that surrounds us. This duality continues through my work on other levels: permanent strength represented by stretched canvas and temporary fragility by collaged paper, realism and locality of a photograph and abstractions inspired by shapes found in natural phenomena and the cosmos. By using familiar images and shapes as symbols for universal triggers which are deeply embedded as building blocks of our reality, my images are able to create immediate impact.
My process begins with a photograph, which is painted onto canvas. Analyzing the flow and shapes of the painting, I create a fractured abstract form which represents dispersion of light. Integrating assemblage of cutouts from printed media, I create a design, which complements the abstract forms. The combination of these mediums allows the viewer to experience the information simultaneously. Thus activating a subconscious relationship with each piece by the recognition of the feeling and textures of the modern world we live in. And yet, at the same time, the images transcend it. Giving the viewer a unique alternative to the world they already know and escape to a place that only their inner guidance can dictate.
The following images are a more detailed visual explanation of my process. They chronicle the starting photograph that develops into the drawing and design of the blueprint for the painting and then, process of the painting and collage of the final image.
Starting a new series of work for an artist is like constructing a new life or new breed of living thing. You explore the ins and outs of it’s dimensions. You must experiment, make conclusions, and be able to be willing to fail. With the series of paintings below, I explored how I see light. For a long time I have known that I see colors and light differently than other people. In my painting classes in college I was taught to paint and see colors in a way that examined how projected light influenced the colors we think we see. However we never analyzed light itself. It was not until the birth of my children that I realized I should take time to delve deeper into what that actually meant. The paintings below are the beginning of my journey.
Click here to read more on my website.
Detail of Prism 3
Prism 4 – Acrylic on canvas, magazine & speciality papers, polyurethane, 36″x48″
Detail of Prism 4
Prism 11 – Acrylic on canvas, magazine & speciality papers, polyurethane, 30″x40″
Detail of Prism 11
Prism 9 – Acrylic on canvas, magazine & speciality papers, polyurethane, 36″x48″
Detail of Prism 9
Prism 6 – Acrylic on canvas, magazine & speciality papers, polyurethane, 36″x48″
Detail of Prism 6
Prism 5 – Acrylic on canvas, magazine & speciality papers, polyurethane, 36″x48″
Detail of Prism 5
Prism 7 – Acrylic on canvas, magazine & speciality papers, polyurethane, 30″x40″
Detail of Prism 7
Prism 10 – Acrylic on canvas, magazine & speciality papers, polyurethane, 30″x40″
Detail of Prism 10
Prism 1 – Acrylic on canvas, magazine & speciality papers, polyurethane, 36″x48″
Detail of Prism 1
Prism 8 – Acrylic on canvas, magazine & speciality papers, polyurethane, 48″x60″
Detail of Prism 8
This week I headed over to the Mary Boone Gallery to see the incredible Jacob Hashimoto show. To read a more in-depth article Click Here
Read about my visit to the Museum of Art and Design’s NYC Makers: The MAD Biennial Click Here
To read about my continued love of work by Marilyn Minter Click Here
It’s been awhile since I posted anything on here. Sorry about that.
But I have been super busy this summer. I am in the midst of a new series of paintings (images to come in the soon). Making a new website and trying to figure out how the world of the interweb has changed since I made my last one 4 years ago(!) My lease is up on my studio and I have been trying to find a new one, which if you know nothing about Manhattan or New York real estate, is one of the worst nerve-racking experiences. I also have taken a job writing which is a weekly art column for the Sixty Hotel group.
I was approached in the Spring and the idea intrigued me. They told me I could write about anything I wanted that pertains to art, which was a plus for me because it’s hard to discuss or write about things I can not find value in. I also thought that in the history of being an artist or what people have thought being an artist is supposed to be, artists have not really been encouraged to discuss or even comment on the world they are surrounded by.
The art world has become a business that depends more on marketing than how gifted or innovative a person may be. It is about who you know and the press that you can receive. Also an artist is not one thing anymore. Artists have to be engaged in a broad spectrum of activities that relate to art. They have to sell and market themselves to a wide variety of people in different positions. It is one of the hardest “jobs” in life (I put jobs in quotes because it’s not a 9-5 job, it is a all consuming lifestyle).
With that in my mind, I thought that I would write about artists I believe in. Artists who I believe are extremely talented, whether they are emerging or established. The people I believe deserve the hype. I would write and instead of being the enemy (as art critics are often seen as), I would be an educator who could illuminate artists the art world should value.
To explore the articles I have written click the link below.
Art articles for 60 Hotel Group
Kara Walker’s newest installation is a bit different then her usual cut-paper silhouettes and animations based on her explorations through race, gender, identity, history and power. It still circles with the same subjects but it presents them in a different manner as previous works.
The installation is titled “A Subtlety or the Marvelous Sugar Baby an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant”.
Inside the massive storage shed of the Domino Sugar Factory in Brooklyn the sculptures reference the luxurious sugar sculptures which were presented during banquets during the time of King Henry V and the triangular trade of slaves, sugar and rum.
Standing inside the great room, you realize you are surrounded by 15 oddly cute oversized molasses sculptures of kewpie doll-like boys caring what seems to be offerings of sugar fruit and spare body parts for the hybrid monster at the end of the room. Modeled after cheap souvenirs found on Amazon, these fascinating boys seem to be melting under the sunlight, which pours in from the windows at the top of the facility, creating small streams of syrup like liquid onto the dirty floor.
The main event of the installation, sits quietly surveying all that encircles her. The 75 feet long, 35 feet high, 26 feet wide, four-ton sugar-coated sphinx with a head donning a handkerchief and a large backside revealing a large exposed vulva are the combination of two racial stereotypes; the mammy figure and a satire of the highly sexualized black woman. Also there is a subtle commentary on the mammoth status (whether subconscious or not) on “Kara Walker the American Artist”, by having the large sphinx sculpture share similar features with the artist herself.
This installation is one of the most impressively grand and ingenious art installations I have ever seen. It not only exposes you to something you have never seen before but it indirectly creates questions about art and history that you may never know the answers to.