A recent trip up I95 to New York with fellow painters and graduation looming near has prompted two compositions that are fairly inexplicable. They are responses to consistent discussions of "the real world"fused with the abnormalities that I have found in my present understanding of life. They reference tangible experiences, people, objects and environments, however formulated and juxtaposed, creating an ironic hypothesis of what is to be expected after graduation. This slightly shallow concept allows me to focus on the physical act of painting, working with the materiality of acrylics and oils, exploring the relationship between figure and ground, and experimentation with color.
The Real World; 2011, acrylic and oil on canvas, 66" x 78"
Boys Club; 2011, acrylic and oil on canvas, 66" x 78"
There is much to catch up on, however I will reduce my history down to its simplest forms and only focus in on the last series of work I produced.
It is no secret that I am and probably always will be interested in the human race; such as how we interact, the different ways in which we present ourselves, cultural barriers and distinctions, why we choose to do the things we do, actions we may take, so on and so forth… after all I am a figure painter. With that being said, it seemed to me that the next logical step within my works was to do a series that broke down the most essential form of communication between us all; body language. Sixty percent of how we communicate is through out bodies, and in an age where a significant amount of communicative forms are through technological means, it is evident, our instinctive way of understanding each other is becoming extinct. Body language is on its way to becoming a dead language. Such things as email and text messaging strip a sentence of its context from an individual and we read things at face value, and thus it only makes sense the people are increasingly voiding personal interactions of various connotations. I may say I am fine, but my tapping fingers, defensive stance, and avoidance of eye contact would argue otherwise. Younger generations no longer take into consideration the subtle movements, and in return believe the former. The series consists of singular figures made to scale of the individual depicted, each demonstrating a common communicative stance that is in theory, universally understood. What better way would there be to illustrate a silent language than through a silent medium such as painting.