Tuesday, July 22, 2008
I had considered titling this one "High Walls", a play on words with the walls of the Muni, and the social walls keeping these two people that are right next to each other from interacting but I thought it would have too much of a negative connotation. So I opted for, "Push To Open", a play on words with the sign at the bottom right and the effort of engagement that it takes to get someone to open up.
The first, "To The Pure", was a watercolor, this is the first time I have done the same piece in two different mediums. The title comes from the Bible scripture, Titus 1:15
"To the pure, all things are pure, but to those who are corrupted and do not believe, nothing is pure. In fact, both their minds and consciences are corrupted." It is my ode to purity of thought and heart and my hope to someday be considered pure in God's sight.
This one is more about me, this guy is isolated in a cold modern world; in a lot of ways I am very naive, and the thought of learning to adapt to the foreign stages of maturity can seem frightening. The contrapposto pose has been an important one throughout art history (I'm a huge history buff), and putting it in a modern setting is a parallel to my old way of going about things being introduced to a technological day in age.
"No Fair", oil on canvas, 8"x 10".
This one stands as a bond between my nephew, Louie, and I. I grew up in a broken home, with repercussions that continue to surface to this day. My nephew is also a product of a broken home, and I assume that this will also have a great effect on him as he grows up. I did this one to remind him that I understand his plight and look to be a support as he stumbles upon some of the harder truths of the events in his upbringing. "No Fair", is a play on words of the no fare that children are charged on the Bart, and how children often escape paying the price of the pain that comes with understanding until they are older. And that I think it is unfair that he will have to go through some of the hard things that my parents' divorce called me to encamp on.
I started this painting back in 2006, stopped, and had no intension of finishing it. When I saw this man scrunched up on the Muni, alone on his half of the train car, I asked myself, "Where is his family, where are his friends?" When a scene causes me to ask questions, it hints at me that I might need to paint it. For the next year and a half, quite a few people asked me to finish it, so they could buy it. But it wasn't until I went through a serious bout with depression that I felt the strong desire to complete it. During that time, I became very inward and felt trapped in an apathetic mindset. I wanted to communicate what I was experiencing but seemed helpless to do so. Working on this painting, I felt a kin to it, as if I could finally relate to and understand this man. This painting became an outlet and way for me to communicate what was going on internally. In hind site, I was very happy to discover that even in depression I was able to have a drive and the discipline to keep painting. It made me feel like a professional.
When I saw this man I was drawn to the character, but what I saw next is what drew me to paint him. At each stop he would struggle to gather his things and stand up, then try to make it to the door on time, only to realize that it wasn't his stop despite how sure he was of it at each halt. I had seen this before, my grandfather had been losing his memory for years. Once again questions resonated, "Where was his family, who was looking out for him? Will I be in this man's shoes someday, and will somebody be taking care of me?" This man was at the end of his line and I will be too someday.