Tuesday, July 22, 2008
"Modern Contrapposto", oil on canvas, 24"x 30".
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.
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.
"Out Bound", oil on canvas, 18"x 24".
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.
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.
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