I have always operated under the assumption that in order for a painting to be successful, it must draw the viewer in and look pretty or pleasing to the eye. To me, that idea is sort of a hindrance because it means either concept wins out and the piece doesn’t look as refined as it should or else I focus all my attention on making the piece look good and lose sight of what the piece means or what the viewer will get from it besides, “well it looks pretty.” I am currently searching for that balance between a painting that looks good and a painting that speaks in some measure to the viewer.
My inspirations come from patterns, meditation through repetition, natural defense, beautification as a form of camouflage, cellular forms, ocean life, botany, and organic vs. geometric shapes. I ended my last semester focusing on creating painting surfaces that played with color oppositions in order to make the paintings vibrate or cause the viewer some degree of discomfort or dizziness, which I feel ties in with my thoughts on decorative paintings and avoiding making pieces that are only about aesthetic or painting for painting’s sake. These paintings also became a form of defense by keeping the viewer away. My series will deal with similar ideas of defense and combine the opposite color palettes with imagery of human figures covering their bodies with coral and oceanic botanicals, relating back to imagery of decorator crabs, which cover themselves as a form of camouflage and defense. These paintings will vary in size and dimension, but will all have similar imagery and varying forms of vibrancy, pattern work, and gesture. I hope to complete between ten to fifteen works involving a figure and ten more of various studies in shape, color, and pattern that can stand alone as pieces themselves.