It takes a lifetime of dedication to be sarcastic. However, the best way to establish a connection is to be sincere. Not only does this statement set up a good one-liner, but it also makes the creation of my art infinitely open-ended. Since anything can be made complex, artwork has the power to encourage and change thoughts of the once mundane. That can be a piece of furniture, an item of clothing, or heck, even a power tool. But that is up to you, the viewer. Are you willing to see things differently? Art is a two-way street, and without your interest, it cannot survive.
Primary sources of inspiration come from color and musical theory. These subjects provide the groundwork for psychological space and composition design. Ultimately, I am a representational painter, but what is so important that it must be visually represented? Well, any artist can say, "The preservation of meaningful experiences and relationships." That phrase is overused and subjective to just about anyone. My reasoning as that artist (yes, the 'any artist') is to keep audiences questioning their definitions of significant interactions. In using color to my advantage, I mimic how a child might see the world (over-saturated and surreal). Then I take the formalities behind basic music theory to put this view into action. Examples may be found in the crisp edges, bold marks, and those in-your-face details like the Tchaikovsky Guide to the Practical Study of Harmony book in my self-portrait, Role Model.
Growing up, I thought I would be a professional musician. Between musically inclined/encouraging parents and ten years of piano lessons, I wanted to make a career out of it. However, at the same time, I discovered that drawing was also a passion of mine. The process of painting and formally learning a musical composition differ in so many ways. Eventually, these differences helped me decide to major in fine arts rather than music. Still, music is always playing in my studio, and come to think of it, I have never painted without it. So why not combine the two? Given the exposure to this area of study, I could not let it go to waste. Much like a hoarder, I collect and hold onto teachings understood over the years.
When under the influence of sound, painting pairs well with various hues. Color is an eternal interest; Mark Rothko certainly believed so. His color field paintings managed to reshape previously held notions of its function. Audiences could then stop underestimating one pigment's magnitude and see that color profoundly affects daily life. Have you ever been asked, "What's your favorite color?" That is usually a hard one for artists to answer because there is a vast selection to choose from, it seems almost endless. On the other hand, there are those that make their entire personality THAT color. Hence why it never fails to fascinate me. So, it is echoed throughout my work as an artist.
In exploring color, music, and the potential narrative, I have landed on the term: Satirical Realism to describe my conceptual drive. The stories rendered are very particular, yet universal. For example, The Trifecta (2020) is a painted depiction of my three half-siblings playing in their backyard. Subtle, and not so subtle, satirical details are included (a small dog, a hazardous waste bin, and a tire swing on fire) to form the scene into something grander than actuality. Those components may spark further questions into who is painted and their relationship with the painter.
Process is another significant motivator. By planning, sketching, and considering various structural directions, the work becomes something greater. When deciding who to paint, I turn to those in my life (sometimes not) and spend time getting to know them better. In the future, when they are painted, they can look back on that time as a candid moment of bonding, playfulness, and real substance. This idea manifests itself onto dynamically painted scenes of life outside this plane of existence.