Blogging assignment #4 - culmination of my work

(self-portrait)

(in progress)

In the second half of the semester, I decided to do much more challenging compositions. For my self portrait, I challenged myself to confront my fears of flesh tones. In my last project, I began a caricature painting that will showcase all the skills and techniques I have learned this semester. I want to especially challenge myself in my last project because I initially chose to use this imagery because of it was unchallenging to my usual way of working.

I chose to use oil paints for my projects because I believe it will give me the most dramatic finish to my work. The colors that I can create with oils cannot be matched by any other medium. If I used another medium, I believe my work would ultimately have to change. By using another medium I would not be able to rely so much on dramatic lights, shadows and colors. The vocal points of my work would have to be interpreted differently. However, I did learn how to use lights and shadows with charcoal. I do believe that, given the right subject matter, using charcoal as my medium, could allow me to explore the many possibilities of chiaroscuro. Using charcoal, I would want to do work on a larger scale. The larger the scale, the more I could explore the space of lights and darks. This exploration would not be possible on a small scale and therefore would jeopardize my overall work.

I believe that, in my work, the imagery I use and the speed in which I execute the painting have to be in harmony for the composition to get its full effect.

The idea or message that I am trying to convey in my work is one of two things. I want the viewer to feel the intensity of my work and admire my manipulation of color. The other idea that I want to translate to the viewer is a sense of intimacy with the figure I am painting. I want the viewer to feel invited to bring their own emotions to the imagery I am presenting to them. I try to achieve both aspects by devoting a tremendous amount of attention to detail throughout my painting and choosing the right concept, imagery and composition for each of my projects.

All of my paintings and the imagery I use in my paintings all have personal meaning. However, throughout this semester I have found that I achieve more by making the viewer able to bring their own emotions to the work, rather than trying to make them feel exactly what I am trying to convey.

My work is personal because I am either, literally, using a person, place or thing that has made an impact in my life, as the subject matter or I felt a big enough connection with an idea that I have to make a painting of it. I believe that my process, more than technique, gives my work its personal touch. Working on a project is a form of meditation for me. My concentration and devotion to the painting comes through on the painting.

Caravaggio, John Singer Sargent, El Mac and Kehinde Wiley are at the top of the list of artists that I am mostly influenced by. I have borrowed the most from Caravaggio and Sargent throughout my work. I study Caravaggio's use of chiaroscuro and his rendering of the human form. I study how Sargent captures the intimacy of the imagery through his usage of impressionism. The others have influenced me but not as much. This is mostly because I did not even know about them before this spring semester.

My work comes straight out of the graffiti art movement from the last 40 years. My approach to a composition and usage of geometric shapes and color are aspects of how my work relates to the graffiti movement. One of the main areas in which my work differs from this art genre is the fact that I use oil paints, and not spray can paint, to execute my artwork. I also allow other art forms or genres to influence me so that my work doesn't become too one sided.

Pop culture today is a big influence in my life as a painter. I was a kid in the 80's and a teenager in the 90's. This gives me and me a very distinct awareness of the world, as well as, a voice. The political climate in our society has also proven to be a big influence. Obviously, technology has also played a big part in my life as a painter.

My project is relevant because of my usage of graffiti and low brow pop culture imagery influence. I have seen graffiti art be constantly criticized and yet, all the while, gain acceptance world wide. This is the platform in which i hope my work will be fairly looked upon with a less amount of bias from the longer established art communities.

Blogging assignment #3

Lucian Freud's painting, Evening in the studio, was a painting of topic on the the PaintersNYC blog. Lucian's usage of imagery, no doubt, created much controversy on the blog site. The criticism consisted of a few key issues. On technique, process and skill the painting was criticized on being too "academic" and not transformed enough to evoke "desire". On overall meaning and composition, an overwhelming majority of bloggers got caught up in their own interpretations of the large naked female and how she is depicted in the painting. This led to greater societal and political arguments which ultimately drowned out discussion of the actual painting.

Criticisms on Lucian's skill and process were only directed at his overall composition. Evening in the studio was accused of being academic. A blogger was directing his criticism at the sense of flatness in emotion of the painting. The colors and process did not do enough to move the viewer enough to see past the obvious imagery. Another blogger added that the rendering and attention to the figures was not enough to transform the painting into that next level. This was a popular issue because another criticism was that the composition and rendering also lacked "desire".

The majority of other criticisms were focused on the aspect of how the female figures were used in the painting. The large woman depicted in the foreground stirred up a great deal of controversy. Instead of exploring the painting as a painting, the imagery and usage of that woman took up most of the attention. Lucian is pressing the "same tired buttons" of traditional gender issues was a clear point made by a blogger. Many also stated that this painting was an example of the "male gaze".

I found myself being able to see where both criticisms were coming from. Although the painting showed great skill, I did not know what to take from the overall composition. The imagery and placement of the figures evoked a sense of symbolism. It is vital for a painting to be as clear as possible so that the viewer can feel confidant in whatever reaction they get from the work. When the viewer is not confidant, that is when the focus of the painting begins its discourse. I believe that it was because of this mistranslation, on the viewers part, that the flood gates of political and controversial conversations begin.

I identified with Lucian Freud's work because of his use of the female form in his compositions and how he applies his personal style of brush strokes to enhance his painting. In my first project of the semester, I made a graffiti style portrait of a woman's face. This caused many of my classmates to go off on a tangent on the meaning of that woman and less on the overall composition. This taught me that I had to be more concise with my composition the next time I use imagery of the female form specifically due to not wanting my work to get lost in a greater argument over the sexes. In addition, I also took note on how Lucian's technique was criticized and became a reason why viewers were misled and confused. From this, I learned that composition alone may not be enough to make a painting translate to the viewer. Color, brushstroke and technique need to be used in a way that enhances my imagery to take it to that "next level". I believe that one reaches that "level" when the viewer is so taken by the work that it becomes acceptable for questions to remain unanswered, because the work, itself, takes all the attention.