CURRENT WORK

CURRENT WORK
I have always struggled with looking at myself or my life objectively. This has been a particular challenge when it comes to the narrative behind my artwork. Over the years I have experimented with many approaches, mediums, subject matters, all while trying to find the process that would allow me to accurately communicate my feelings and thoughts around a subject. They are often complex and shifting. I’ve struggled to capture this in a singular image, a static self contained work. I now believe I have found the “language” and process that lets me fully articulate the intricacies of my perspective. And beyond that, I believe I have found the way that allows my work to be a conversation with the viewer. It is no longer linear and it invites the viewer to physically manifest their interpretation. This process allows the work to keep evolving over time. I have finally manifested the first whispers of this idea, and it is everything I imagined it to be. Meaning via context. The experiment is now over. Now it is time to express and explore.

Tuesday, February 13, 2024

CONTEXT BLOCKS - A SERIES OF WORK IN FLUX: first iteration


This is the crux of the new direction of the work. Impermanence, flux, and interaction. My original composition is just the seed to the work, creating the launchpad for others to participate and become a part of the project. Different perspectives, different rationale, different reflections, different perspectives. The work is always evolving, and is never exactly the same as the original form. Only documentation provides proof of the work as it was in any given form, because there is no one solidified form.







Friday, January 26, 2024

SHIFT

 “Eureka, I’ve struck gold” I believe I have found the format and language for the next iteration of my work. I am consumed with creative energy and drive to delve into it…. Soon

Tuesday, January 9, 2024

CRITIQUES 99

I came across some old critiques from my intro to painting course back in undergrad. I believe this was from 1999 where I learned to stretch my own canvases and paint at a larger scale using oils. It was a learning curve for me but I am thoroughly grateful for it. Some of the lessons I learned didn’t kick in until decades later. What some pointed out in their critiques was that I have a (unintended) focus on singular objects. I never wanted to work on complex compositions, not because I found it more challenging, I just found it claustrophobic. To this very day, even when I work on a portrait or tattoo, I require a certain amount of “air” or space present in my work. That space is not empty to me, it is full of energy that I can feel. I believe it to be implied when one is looking at it. Nonetheless, it feels very uncomfortable for me when I break this harmony and peace with something, for the sake of it just being there. I find this in my furniture tastes, where I am likely to get very minimal and basic black book shelves for everything. Or how I can feel it when someone is standing what I consider to be too close to me (which is typically a normal distance for most). Interesting to look back and see it has always been there. Icons. 










CONNECTING

I used to get a dopamine hit from the reaction of people to my art. Whenever someone responded with a “wow” it seemingly boosted my sense of self worth. Which, in searching for the next dopamine hit, can turn one into an addict. But eventually it’s never enough. As a father, and what I presume to be a now adult and matured artist, I now only search for moments of enjoyment when creating. A sort of mindfulness and being present by connecting with my higher power through the ritual of my gift. If others enjoy it, then it is a bonus, however it is not the end goal for me. But, in consideration, it is also my way of connecting with people. No longer in a linear sense of “I make, you look”, rather, “I create and share, and we connect.” 


Saturday, January 6, 2024

MASTERY: hour •2

1.5.24

The nature of the works at MOMA don’t necessarily lend themselves to be subjects for the more academic drawings I typically do at museums. Nonetheless I attended their free Friday night to reinvigorate my passion for creating. While strolling through the museum I kept a watchful eye out for anything that may be suitable for a drawing. I came across Head of Montserra II by Julio Gonzalez. A bronze portrait bust of a woman screaming. I made about 3 attempts to sketch this sculpture, all while wearing a pair of red glasses to highlight the contrast in values. It had been a while since I have done any observational drawing, which has become increasingly difficult because of some issues with my eye sight as well as body injuries. I was quite pleased with the opportunity to get lost in the drawing and dip into a state of flow where the eye and the hand work with some automaticity. Here are the results. I am also including some warm up sketches I did while on the train so that you can see the progression from the sketch to the final. 











Friday, January 5, 2024

MOMA

1.5.24
As I was sitting in the prime seat at MOMA in a room of Henri Matisse’s paper cut work (swimming pool?), a Little girl sat next to me. She was speaking a different language but from her tone I could tell she was bored and trying to signal to her parents let’s go. Then she faded into a humming and  singing and her melody and tempo matched what was in my headphones at a very low level. I don’t know how to explain this moment of synchronicity. But there is Magic in every day life. I’ll take it as a moment of God saying hello to me. 





Wednesday, January 3, 2024

MASTERY: hour •1

1.3.24
Getting the ball rolling again. It’s a love hate relationship with working on the black paper and white charcoal. But at the moment when time is of a constraint and I need the quick dopamine hit, these sketches/drawings will have to suffice. I am still in search of how I will transition from this stage into the next. 






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