After almost 3 months I was able to finish this piece, It was a big challenge for me for many reasons, I think that I did face my biggest fear towards painting i.e. sculpting the canvas. At the end I feel I did learn a lot from making this piece.
At the moment I feel that I need to keep taking more risks while enjoying this new sculptural adventure.
A couple of weeks back, I went with my girlfriend to visit the city of Madrid, Food and wine, Family and art, To make the story short, I was walking fast through the monumental space of “El Prado Museum” and I was immediately dazzled by the strength of the brushstroke on this painting: “Naked man in the sun”.
And in the same room I founded a vast body of work that really inspired me to look for more information about the artist.
Children in Japanese Hall
Nude on the Beach at Portici
Fantasy about Fausto
beyond the great painting skills, I really like the way he manages to produce a focus effect on the painting by adding detail to little bits of the composition, I especially like the way he painted the piece about his two child
I also like the way he merged two different scenes to introduce Fantasy into the representation.
Since the beginning of my painting career, I`ve been interested in the use different materials as a way to expand the representative potential of painting. This is a short review on the most significant landmarks on this active research:
MDF – Slippery paper 2008 – 2010
Around the year 2009, I started to experiment on this material, I was cheap so it was great for sketch making. One of the first things I learned about it was that it allowed the brush stroke to smoothly cover a bigger distance. This was one important discovery that made me aware of the convenience of smooth surfaces. The biggest downside was that you have to take really good care of it, after all, it is similar to paper.
MACHETE TIME – Shape the painting. 2011
Around 2011, I was again working over conventional canvas and MDF was almost in the past. Although I used to do a lot of oil painting, Acrylic paint started to attract my attention. At first I used it as the first layer for oil painting but with time, my use for it grew up to the point it replaced oils.
On one point, I wanted to paint over objects, so I made two experiments with oil based painting over milk cans, this gave me a new insight so I started to paint over objects in order to build a relation between the physical shape of the object and the depicted image. I had chosen to paint over Machetes and the final outcome opened a new path for my practice, now it was all about metal, acrylic paint and polyurethane varnish.
POP – Color fields and repetition 2012 – 2013
At this point I was really excited about using iron plaques and metal objects, I was really into acrylic painting and my motives were evolving more than ever before. I was starting to liberate from fixed photographic images and visual composition became an stimulating adventure. I felt free to experiment so I began by changing the context and the colors inside the piece. The use of patterns set the ground for the use of pixels and for the first time I took the risk of creating my first 3D painting sculptures. The downs side of Iron was that the pieces were to heavy and some of them actually ended up damaged by a combination of gravity and hard floor.
OILY LOVE – Landscape and flesh 2014 – 2015
I am not sure why, maybe it was the speed of things or the size of my expectations or the way I used to push things, by the beginning of 2014 I was exhausted and with a bitter taste on my mouth. I needed to find the joy that was missing on my brush strokes, I needed to take a deep breath and recover my energy, it was time for oil painting.
Landscapes and Figure were my main source for inspiration. I stayed well away from traditional canvas by using several different materials e.g. Fiberglass with paper collage, synthetic paper and found objects. I started to embrace more elements of the digital aesthetics e.g. pixels, glitches, color aberration, overexposure, bad framing, blurriness.
3D painting – Layers of reality 2015-2016
Around April 2015 I started working on 3D paper models, I was trying to find an affordable and flexible way to create three dimensional models. The use of Blender introduced me to 3D image composition, now I had the opportunity to compose and alter the 3D shape of the image.
Once I started my MA in London, I was able take things further thanks to the use of a 3D printing, this opened things for me because I was no longer limited by the complexity of the shape I wanted to create, or at least, that is what I though.
After a while, some issues were starting to be a real problem, firstly, 3D printing is a fairly complex process and a lot of things may go wrong (and actually did), secondly, affordable 3D printing has serious size restrictions, finally, 3D printers are delicate equipment and by February 2016 the College’s 3D printer was damaged (and still is). Although I was upset at the beginning, this ended up being an opportunity to take things further both on digital and physical grounds.
Camberwell Roller Coaster – Going VR March 2016
On March 2016 I made my first site specific VR project, It was a piece that explored the use of 3D software to reflect about the perception of space while expanding the formal elements of Digital Photography. This project also introduced my self into 360 video production.
Landscape extrusion – Modeling and Sculpting March – April 2016
A month ago I was thinking on how to make bigger 3D physical objects without 3D printing nor 3D paper modeling. My first option was to assemble several MDF laser cut silhouettes. Although it was a pretty interesting process, I ended up on a dead end once I realized that it was going to be a pretty complex task to make it a strong and lightweight piece.
After awhile, I remembered a talk I had with the technician of the 3D workshop, we talked about several materials and one of them seemed to be suited for my present needs; polystyrene foam sheets. Last week I made a new model from a landscape and now I am modeling the physical piece while reflecting about the different aspects of this new kind of process and how it fits into my practice…
Today I was working on my next piece and I started to realize that this task of connecting the dots on a 3D model is now an automatic task embebed on my brain (Basal ganglia and/or Cerebellum), so now I have more space on my Prefrontal Cortex to reflect about my process and even think in advance about the whole piece.
In recent times, I’ve been exploring the 3 dimensional representation of thoughts, I’m exploring the use of 3D objects as canvases, this has led me create a three stage process:
After defining an specific concept for the piece, I start by creating a narrative oriented shape. As I create this shape I try to focus on the different possibilities of the overall shape avoiding going into to much detail, in this stage I also avoid thinking about specific images I want to use.
I use this object´s faces to place images and color in order to compose a “three dimensional image”. Although I keep thinking on the concept I try to let it evolve by not focusing on an specific narrative but only on the formal value of the piece until I reach a point where I feel it is completed. So far, I always print the piece before starting this stage.
When I’m satisfied with the sketch I start to paint on the object, so far I’m trying to paint an accurate copy of the images I used for the sketch.
Reflection about Stage 1
Creating 3D shapes as a way to represent concepts is an exciting challenge for me, I can’t explain it but it just feels right, is like giving voice to a part of my brain that is able to do this without giving me a conscious and structured feedback. I’m definitely want to explore this further more.
Reflection about Stage 2
I think that in this stage is like a game in witch I present images to my mind in order for it to arrange them while mixing conscious and less conscious decisions, although I know I’m thinking, I’m not able to fix an specific outcome. Working with both Illustrator and Blender has created an unsuspected additional challenge for the visual composition; on one hand, working with the vector UV map forces me to arrange elements in an order that is dependent on the 3D model, so I have to change into blender in order to see the end result, this is not a direct process and this separation forces me also to work from memory. On the other hand, because of the properties of the 3D environment, my end result is an ever changing 3D image, so maybe my mind switching on and off from consciousness has to do with the fact that my brain recognizes the impossibility to find a fixed narrative, so then I have the opportunity to see the piece as an abstract representation.
Reflection about Stage 3
At the moment I’m trying to control the outcome by doing a faithful painted copy of the digital sketch, I guess this is my way to avoid getting lost or even destroying what I have accomplished in the other stages, and even though this seems logical, I have a feeling I can enrich the final outcome by letting physical expression take its part, for this I want to create bigger canvases to see if I am able to use paint strokes to blend the apparent edges between abstraction and representation.
He was an Iris born British painter, he has been a huge influence for my work and now I am beginning to understand why.
This are some particularly interesting quotes I found in this video:
…”When you go into a butcher’s shop you see the beauty of meat”…” when you think about it, also you can think of the whole horror of life, of one thing living of another”.
…”How do I feel”…”How can I make this image more immediately real to my self”.
…”people like to get a meaning for everything”
…”But it is truth to say that off course, that when you paint anything”…”you are also painting not only the subject but you are painting yourself as well”…”painting is a double…it is a dual performance”.
“I want a very order image but I want it to come about by chance”…”one wants a thing to be as factual as possible, and at the same time, as deeply suggestive, or deeply unlocking of areas of sensation other than simple illustration of the object that you set out to do”.
“The subject of meat is such a marvellous subject matter”…”If you go into some of these great stores where you just go through this great holes of death, you can see meat and fish and birds and everything else, all lying dead there”.
On a recent trip to Barcelona I visited La Boquería market, there I found a huge contrast between different subjects, I couldn’t help to see this place as a “Baconian” place, full of strong scenes with bright colors, I was also attracted by the mix of scenes. A fruit shop with beautiful fruits on display, a butchery with dead animals and a bakery stuffed with delicious pastry and biscuits.
He is a Canadian artist that explores dripping as a way to create three dimensional representations involving humans. He is also interested in Virtual reality.
For me is interesting to see hoy painting can be projected towards the “third dimension”, I have to say I don’t particularly like the “childish” effect of the representation in earlier work (I have only seen low res pictures) and I`m also concern about the visual “weight” of the acrylic plaques. However, his latest work is amazing, he has been able to create really cool 3D environments.
Right now I center my attention on the boundary between physical and Digital worlds, my latest work illustrates a cycle of digitalization – materialization, for this, I use a triad of elements: digital photography, computer software and oil painting.
This is the first sketch model I did for this series of paintings over 3D paper structure: