Monday, March 30, 2009
Sunday, March 15, 2009
Tuesday, March 10, 2009
artist statement
Everyone experiences life differently; nevertheless, each existence is structured identically at its essence. People are like multicolored spheres of Play-Doh. When we are born, we start out with very similar cores, differing only with the color, or perhaps the shape. Little by little, as we grow, we gather information, and this knowledge can be compared to additional coats of this multicolor clay we layer on top of each other. These dabs of clay may be at first products of the affection and love we are given, the environment we grow in, the experiences we learn from along the way. Later on as life accelerates, they may represent certain pains: moving to a different home, or maybe the loss of a loved one, but they can also be created by joys or happiness. My work is based on precisely this concept: the involuntary act of gaining experiences that make us all different and unique individuals.
These experiences I illustrate through various marks such as coffee stains. I do not concentrate on describing certain emotions. On the other hand, I try to appeal to whatever emotion the viewer is willing to grant it. In this exchange between work and viewer, I transcend my previous conversation with the stain. I have been juxtaposing human backs onto these “stained constellations,” since every time a load is too important, we hitch it onto our back. Then, once we are done carrying the memory, or we have learnt to live with it, we set it aside. However just like the most immaculate unwrinkled cloth, once an object is left to rest upon it, when it is time to remove it, creases and marks a left behind to remind us of the time that vase, or that chandelier laid there.
The stories I tell in my work are not necessarily autobiographical, some usually depend on dreams I may have had others are simply the fruit of my conversation with a stain. On a time frame, I usually make a stain, paying attention to the textures, colors and lines I get, then I start drawing in certain areas, illustrating the dialogue in front of me.
Anseim Kieffer and Ernest Pignon Ernest have been great sources of inspirations for me. The first one, Anseim Kieffer, studies the marks of time through texture extensively, using natural components such as dirt, rust, rocks, in his work. I have incorporated similar color schemes and the use of “natural components” such as coffee in my work. Ernest Pignon Ernest is different. I studied for very long times his technicality, his pen and charcoal strokes, which I use in “sculpting” my backs.
Practically all my work has been created on Mylar, a transparent support which enables me to alternate between front and back in order to obtain different line weights, stains, all in all adding more depth to the piece. Until now most of my stains have come from coffee mixed with inks and white acrylic which has enabled me to obtain a wide range of textures from these extremely rudimentary materials. All my drawing I do either in graphite or black prismacolor. I have found these mediums to be the ones that grant me the most freedom in line quality.
The extremely similar structure of my pieces, transparent figures rendered opaque by the stains in them is a very literal interpretation of my works message: we have all started as children in nearly identical corporal envelopes which we have personalized over the years from our joys, our pains, our stories.
These experiences I illustrate through various marks such as coffee stains. I do not concentrate on describing certain emotions. On the other hand, I try to appeal to whatever emotion the viewer is willing to grant it. In this exchange between work and viewer, I transcend my previous conversation with the stain. I have been juxtaposing human backs onto these “stained constellations,” since every time a load is too important, we hitch it onto our back. Then, once we are done carrying the memory, or we have learnt to live with it, we set it aside. However just like the most immaculate unwrinkled cloth, once an object is left to rest upon it, when it is time to remove it, creases and marks a left behind to remind us of the time that vase, or that chandelier laid there.
The stories I tell in my work are not necessarily autobiographical, some usually depend on dreams I may have had others are simply the fruit of my conversation with a stain. On a time frame, I usually make a stain, paying attention to the textures, colors and lines I get, then I start drawing in certain areas, illustrating the dialogue in front of me.
Anseim Kieffer and Ernest Pignon Ernest have been great sources of inspirations for me. The first one, Anseim Kieffer, studies the marks of time through texture extensively, using natural components such as dirt, rust, rocks, in his work. I have incorporated similar color schemes and the use of “natural components” such as coffee in my work. Ernest Pignon Ernest is different. I studied for very long times his technicality, his pen and charcoal strokes, which I use in “sculpting” my backs.
Practically all my work has been created on Mylar, a transparent support which enables me to alternate between front and back in order to obtain different line weights, stains, all in all adding more depth to the piece. Until now most of my stains have come from coffee mixed with inks and white acrylic which has enabled me to obtain a wide range of textures from these extremely rudimentary materials. All my drawing I do either in graphite or black prismacolor. I have found these mediums to be the ones that grant me the most freedom in line quality.
The extremely similar structure of my pieces, transparent figures rendered opaque by the stains in them is a very literal interpretation of my works message: we have all started as children in nearly identical corporal envelopes which we have personalized over the years from our joys, our pains, our stories.
On birth I
quick 20 min experiment, trying to find new techniques!! wouldve looked better without the pen... o well
Saturday, March 7, 2009
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