How I began:
I have painted for most of my life, starting around middle school (if you don't count finger paints and splotches with tempera)... However, I didn't start with oils until much later although everything about my personality fit the medium and the style. It's funny, the personality traits that I've always been ostracized for (meticulous, melancholy, driven, exacting, thorough, analytical and focusing on deep things first) are all are needed to paint the way I do. Yet my thoughts are not dominated by visual or auditory (despite having strengths in both) I think primarily by feeling. Each thought has its own distinct essence or tactile feeling, which merge like nebulous clouds placing me in a continual state of synthesis, which is how I learn most efficiently. Perhaps that is how the universe is, it's all about its essence and not what we name or label it, accepting things just as they are. It's amazing that the very things about us (which we think might be a curse for not being homogenous) when redirected: can be our greatest blessings.
Philosophy:
True genius is to make the most profound things simple. The universe itself is that genius and so is the ability to perceive it, as is the case for humanity, who typically takes this for granted and freely discards. The greatest statement of genius is that of the higher power saying that his name and his existence are the same, his essence is his name, simply: "He is." There is no need for anything greater, yet appearing so simple, that its magnitude is completely overlooked without deep contemplation.
The nature of the universe is motion. As the result, the fabric of the universe is likewise, in the form of wavelengths (or even sub particle quantum strings). The universe is truly the greatest paradox, in that all things are made from what we perceive as "nothing;" yet, through the "stirring" of space/time, everything exists as we perceive it, and everything shall return to "nothing." String theory at a surficial glance looks very similar to the concept of "Ex Nihilo" (coming out of nothing): "He spoke and it was," suddenly doesn't sound as far-fetched or as difficult to perceive anymore; therefore, whoever develops the ability to manipulate quantum strings, will have nothing beyond his/her reach, which echoes from ancient literature. The debate between science and religion doesn't exist outside of man's interpretation, which screams of an underlying motive to dominate above understanding truth; thereby, cheapening all disciplines. In essence, science and religion are complimentary: the evidences are there but it's our interpretations that vary. The final place of science, religion, and philosophy all conflux on the same points. The only debate is within our own inability to grasp these concepts.
"Spooky Physics" is only "spooky" because we don't understand the questions yet and only see results defying "conventional" explanation. This should tell us that "conventional" explanation is not broad enough and needs to be expanded, revised or reformed. There are gaping aspects and laws of the universe we haven't even begun to understand; thereby, making quantum physics (and related avenues) baffling to many attempting to comprehend. Albeit, relativity makes room for it in that mass bends space/time, resulting in gravitational force (and not particles as often theorized) but the fact that space/time can be bent, infers that it is "something" and not "nothing;" thus, quantum theories fill such gaps and indeed the universe is a strange place. Nevertheless, there are complicated issues in the universe, which we may not be able to currently explain within the existing framework, as our tools of understanding/explaining it are far too rudimentary to enable (just like scientists of centuries past declared that all things to be discovered were already known). It is fallacy to pretend to be able to explain everything, as this notion (in and of itself) will only interfere with greater understanding. Sometimes the beginning of understanding is simply to embrace it as: "It is."... Then to build from there: to build upon this level of respect for the system as a whole...
Regarding society: when we all agree to lift each other up, the entire system is raised. Society can be greatly enhanced through adopting this simple principal. Greed may be a motivator in capitalism but to allow this to go unrestrained globally, is to both limit and define humanity by only one trait. Greed creates short-sighted pursuits, leading governments and businesses to seek only short term gains, always at the cost of future. Social justice and dignity are universal rights that everyone deserves; somehow, as a civilization we have built ourselves upon stepping on our fellow man, instead of lifting each other up. Is there any dignity in not being able to provide for one's family? Is there social justice in governments bending to the economic whims of an elite few, who prosper in the face of our own extinction? Where the greatest ballot is our spending habits and not the paper we vote with? Indeed the path of selflessness towards our neighbors is a medicine we need to revisit, before we spiral to our own demise. The elasticity of our survival has been stretched beyond its comprehendible reach, about to snap at any moment, to the abyss of human extinction.
Years of professional work:
2004-2005 The years of transition, I made the switch from water colors and acrylics to oil paints for the first time. People used to discourage me from painting in oils and I made the mistake of listening. However my years of water color work prepared me for my techniques in using oils. I loathed myself working with acrylics although I did get results, too bad nobody ever told me about floating medium. I used to spend hours just creating a smooth acrylic wash between two colors; however, all of this presumed wasted time, incidentally trained me for my work today. The transition to oils was automatic as if I had always worked with it. It was a perfect fit and it enabled me to create what I saw in my mind as it didn't dry before I wasn't finished painting all the details. The learning curve was, and still is, sharp. For me it has always been: paint according to what seems right instinctively.
2006 My year of final skills preparation for my portrait work, hence most of the practice works in the Beautiful Faces Collection. I refused to accept portrait commissions until I knew my technique was perfect. Symmetry in beauty is perhaps one of the most difficult techniques to master, and it became a cornerstone of my skills development in this area. This was the last year that I included the year painted under my signature, all of my works after 2006 have the year written on the back.
2007 Where I began accepting commissions for painting portraits, mostly with painting family heirlooms. It was also the year I began many new styles and collections: Expressions, Cherubs and Surrealistic Visions. Everything was and still is developing years ahead of my initial plans, when it's simply meant to be, sometimes things just fit together greater than your wildest imagination.
2008 An interesting year where my work began being published through various sources and I also began the features: "The Artist Who Interviews" and "Featured Faces in Paint." Special thanks to the wonderful cooperation of the celebrities who made these features possible.
2009 A most turbulent year in my life, complicated further by growing popularity and media attention; albeit, meager for most outside the visual artist's realm, it brought unforeseen complications.
The summer of 2009 was marked by a series of personal tragedies; whereby, I will never be the same... After having a close call with death in September, where it seemed like a "miracle" that I survived, my personal outlook was changed forever.
The rest of 2009 was spent "picking up the pieces" of my life, slowing down, and exploring the darker and mortalistic aspects of the human experience through paint. In separate efforts, inspired by a dream, I have managed to create a new medium; however, this will be kept secret, until I'm ready to release it with a larger body of work in the distant future...
2010 During 2010, I gave up the interviews and features for a time, namely from taking on too much and "something had to give." Artistically, I began a stronger emphasis on color, engaged in much larger projects, and experimented with new styles and techniques behind the scenes. Although, I released fewer works in 2010, it was a year that considerably shaped my artistic direction.
2011 2011 became the year of galleries for me. Early in the year, I obtained permanent representation with the Jenkins Showler Gallery (a National Gallery which I consider a personal honor to have my works displayed there). Later in the year, I began representation with the Ice House Gallery in the north.
Additionally in 2011, I had three solo exhibitions, was involved in two other group exhibitions, and co-founded two exhibiting groups. By year end, my prints were available in three galleries and original works in two (on an ongoing basis) outside of exhibition showings.
Other events in 2011 included having a 1/2 hour TV interview, the honor of acquiring three official professional models, and moving both my residence and studio.
2012 2012 has already begun with a solo gallery exhibition but my efforts will be to slow things down in order to create and paint as this is my first love. I still haven't taken on an apprentice but I've been participating in training promising artists, acting on my vision of increasing the perceived credibility of both the profession of the artist and of the art industry.
|
