Female head and portrait study, 20"X20", acrylic on paper, 2012
My face studies are focusing on sadness and happiness. Abstract background is made with poured, smeared and splattered paint. The ground is interesting to view due to it's ability to evoke images of landscapes, figures, faces, etc. I've re-arranged abstract landscape parts as well as human heads from different paintings. There is a more dramatic charge to these visual elements in collages.
Even though my work has the unique qualities that belong to my personal method of painting, I am inclined to look at it's similarities with the works of the famous artists. Knowing about the origins of my work helps to understand it's relationship to art History and art practice. My paintings are reminiscent of the Abstract Expressionism that originated in the late 1940s in America. Mark Rothko's color field painting is evident at the base of my work. The soft blending of the tinted colors in my paintings is not a direct borrowing of the images of the master. It has a lot more of my intention to create moody atmospheric appearing surface in the background. I am not concerned with the bold color statement but rather with the viewer's eyes reading the transition of quiet colors. Wilhelm de Kooning's dynamic action painting is visible in my work as well. The unavoidable lively marks on top of the smooth ground in my paintings result from the vigorous strokes of a palette knife and a brush. Jackson Pollock's drip painting emerges when the paint is thrown and splattered across the canvas. I achieve a composite of several modes pioneered by the great masters of the past.
I work in a large ground floor studio. There are several office light fixtures In addition to the sunlight coming from the windows. My work hours can be quite irregular. I often end up working at night.
Studio floor is covered with carpet that is both the insulation and the protective tarp. There is a computer station in the room.
Table with art supplies is on the right side of the room. Staple gun, paint jars, brushes, palette knives, paper towel, water containers and other necessary tools are conveniently placed here. My paintings are wrapped in protective plastic and stacked. I don’t want the pieces to accidentally stick together. Acrylic can be sticky.
I prime the raw canvas and stretch it. Buying an entire roll of unprimed canvas can help save money. A small brush and a sponge are useful when I want to get the paint from underneath my finger nails.
"Sunny, smile", 30"X30", acrylic on canvas (gallery wrap), 2009. This landscape painting is inspired by my interaction with nearby parks and ravines. These places can be truly sublime when one is out walking for a breath of fresh air. Here I become absorbed in my experience of living in the present moment. My senses and my intellect immersed in the state of being. My current body of work attempts to bring these bits of sublime scenes to the viewer. The paintings are also informative of the color, line, contrast, space and paint application. I use palette knifes to construct most elements of this work. Paint splatters and drips are added to represent foreground detail. I also resort to the use of brushes in order to create thin linear elements and translucent washes. My work is available for sale on eBay and priced commission free: