The past has helped me to create a dialogue with the artists I look at. For example, I look at much of DeKooning, Picasso, and David Park's work. There is something about the energy, composition and application of paint, which speak to me. In turn I look to translate the way I see their contributions and make them my own. In a sense it is an appropriation and a homage to the work that has been done before me, but also it is a dialogue that I hope to continue. I received wonderful advice from Hanneline in which she asked me to look at the artists related to the artist I have chosen to create my dialogue with. This simple idea opened the door to a whole world of ideas. And with Beth's and Westfall's advice to just keep painting, and statements that I've laid out a groundwork to continue painting from for years to come was the most welcome news.
In terms of figuration as an excuse to work with paint, it is not so with my current work. that attribute may have been present in my earlier work (See Studio journal Nov 26, 2010), but I feel that my newest work is more of an equal partnership in terms of how, what, and why I paint. The brush strokes are not arbitrary to any particular figure, nor are the colors, or the use of paint. each has its defining reason. I paint because because i embody Edvard Munch. I personalize my work according to my life, but not in such a way where I am simply expressing myself and only working for myself. I believe anyone who is simply painting for themselves, just to express themselves, has no place in a higher art education. Art is not about oneself, it is not simply a form of therapy (though it can be used for such). Art speaks about the moments around us, the events going on around us at this very moment, the past, and whatever we can predict in the future. So my figures are not used just as an excuse to work with paint. Not in any way, as it describes a language and radiates a presence from each figure I paint. I am sure you would agree each figure has its own personality, mood, setting, and narrative.
The technical approach relates to the content in that it helps to define the above stated (personality, mood, setting, and narrative,). Nothing in my work is arbitrarily done and everything has a purpose.
In terms of my subject matter, "everyday natural life" should be constrained more to my observations of natural events. the things we do not think about. the candid moments someone captures with a camera but executed in such a way that a camera cannot express. A camera might express a literal representation of a moment, but it will not know the mood of the room, it will not know the story behind the picture, it cannot change the colors of the room on its own. I suggest a camera for me is more of a sketchbook which needs to be worked out and solved like a math problem. It needs to be manipulated and worked out in order to find the right answer. For me, the answer are the paintings I have shared.
In terms of conflict in my subject matter, the conflict is not always so dramatic as a teenage drama. Do not misunderstand, these pieces are not simply angst and reflection. They have more to do with even the smaller inner conflicts we feel everyday. Feelings that subtly dictate our direction and yet it seems there is not much thought or reasoning behind most of the normal everyday things we do. Sometimes we just feel bold, or we feel confident, sometimes we wake up and feel like its the beginning of a new life, a fresh start, but sometimes we also wake up and don't feel like getting out of bed or doing anything productive. My work can cover this broad range of subject matter but still be very specific in the execution of each painting as i hope I have portrayed.
The intended audience of my work are those who have the capacity to understand and appreciate the ideas implemented. I will say that I am not painting simply for the sake of painting or making something pretty. I try to avoid kitsch artwork and try to separate my ideas based on the advice given to me by the respected professors at Mason Gross as well as by the research and history which inspires the execution of my work. My work is not directed toward any sort of individual, rather those who have an understanding, if even just a minimal one, or those who look for artistic enrichment through the technical and formal ideas I have implemented. In no way does this mean I have a complete understanding of the artistic world around me, but I highly believe that art is a higher form of education which must be studied and understood. It is a realization that took me four years to reach. I cannot believe how often I painted in order to please others. I used to paint to make something pretty, or worse, simply for commercial reasons. It has been a long process in which I can only hope i continue to grow and learn, and hope those who see my work are those who can appreciate the ideas. (Notice it does not necessarily mean they like or agree with my work, but I would hope they are not looking for it because of simple aesthetic reasons. My hope is that my audience are those who have an understanding of what they are viewing and then they can criticize as they wish.)
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