Studio

I started to work with color and its amazing how quick I related it to my work. I introduced color to create a relationship with the matrix. I’ve explained this to some friends before and I think that time and space have a big deal to do with how I’m integrating color now.

I think the aspect intertwining time and history is rather interesting for several reasons. The act of reading books from the past ties us to the present, it informs our reality in many ways. I think that the fact that we have information developing at this moment is rather remarkable and reveals how much we have to keep up with. Therefore, I think that color is aggressively applied so that it mimics the aspect of hostility or perhaps how the clouds of hue in some instances erase the image that I have drawn upon from my cell phone.

I think that technology plays a keep role on how we understand many things. One of them being the aspect of time moving forward and the future. I also see how we compartmentalize ideas and knowledge–which computers can facilitate; and are the main proponent of such knowledge. The hues that hover above everyday things

For this post I will like to bring you in to my mind in some respect, and personal space, virtually. Having insight onto someones art studio is rather important because it reveals spectacular things, it can inspire others to adopt and integrate a new way of working or perhaps re-contextualize imagery. My art studio is a place where I feel free, free to choose specific subject matter and present, it’s a place where I can think freely and quietly add paint to a substrate.

As it concerns the part of paint application I’ve recently been painting without priming my canvas. Commonly, artist gesso their canvas so that the paint sits on a firm place and so that it doesn’t seep through the other side of the canvas, therefore the hue is vibrant and the paint (whether oil or acrylic paint) can sit on the weaving of threads of the canvas, this allows for better blending transitions, etc. I stretch my canvas on wood-stretcher bars and paint directly on the surface, it’s like drawing, really. I had a discussion with a colleague over this matter, and I figured it was a way to deconstruct intersectionality. Choosing subject matter for this particular series of paintings comes from an image archive on my computer, along with found images that appeal to me due to their potent content of loss and perhaps emotional grasp as a psychological tool of power. The main point of working in this series is to bring it into maturity — to create a cohesive body of work for an exhibition.

I’m inspired by pity and loss and draw inspiration from solitude or moments of rejection. I try to look for subject matter that reflects loss, much of the imagery comes from my photographs. I hold photography in high regard as it portrays the “past” but presents it in the now. Before I get ahead of myself I consider subject matter as a tool to tap into memory. Memory is a huge part of how I look at the world, knowledge comes from your ability to memorize such theories which shapes our reality. I’m super concerned with existence and being.