Halloweeeen

Hello, here are this year's pumpkins:

Alfred Hitchcock and Dexter Morgan!

and me as Indiana Jones working in the store Halloween night

BWAC's "Lineage" Opening

Thanks to all who came out to the Lineage opening this afternoon! It was a lot of fun. For those who didn't make it today, the show will be up until October 31st but only on Saturdays and Sundays. Here are some images from the show.

me in front of my work

Scott and I in front of his work

Scott and I in front of my work

me in front of my work

New Work! Continuing on the Labors

I'm finally finished with The Labors of Hercules Series! YAY!!! Now here comes the important part YOU ALL have to come join me for the "Nailed" opening at BWAC this Saturday (May 8th) at 1pm. 499 Van Brunt Street (right near Fairway by the Water Taxi in Redhook Bklyn)

You'll get to see the Labors Series, some black and white photographs as well as some other works on wood that were hand picked by the BWAC curators. I was initially only supposed to get one panel but they liked my work so much they asked me to bring in a variety of other work and now I definitely have 3 panels and possibly one more.

I'm really excited, and I worked my butt of the past couple of weeks preparing for it, so without delay here's a preview of the new works that'll be up in BWAC's "Nailed" show:

This is titled "The Return of Persephone: The Advent of Spring" This is not a Labor of Hercules but is in the same vein as the Labors series as well as the "Fall of Icarus," being that this too is a Greco-Roman myth. Oil an Shellac on Wood, 4x4.

"The Girdle of Hippolyta" The ninth Labor. Gesso and Oil on Wood, 4x6.

"The Nemean Lion II" The first Labor. Oil and Shellac on Wood, 8x10.

"The Cattle of Geryon" The tenth Labor. Oil and Shellac on Panel, 5x5

The whole wall, 2nd floor on the right hand side.

Finishing up the Labors Series for BWAC

I have off work tomorrow, and I’ve promised myself to work on a couple of things. As some may know, my dad and I are in the process of building an art studio space in the basement (where the darkroom used to be) so I can finally have a place to work. It’s almost done, I still need to transfer a lot of stuff from my room and give the new space a quick clean but I’m going to try to accomplish this in the morning.

There is another reason I’m anxious to start working again. I’ve joined BWAC (finally) and am going to be featured in their show in May. I’ve decided I’d like to display my Hercules series, which as of yet is still incomplete. So I have to get my arse in gear to finish off the series. I have an idea or two for the remaining 2 paintings. I’d also like to make a Nemian Lion II because I am no longer in possession of the first one. So that brings up the total to 3 paintings I have to finish before the second week of May. I think I can do it; I tend to work better under a deadline anyway.

I also plan on making a book for a special lady I know who gave me an awesome gift the other day. I think it’s going to be classic cinema themed basic sketchbook/notebook. The cool idea I had was that it would have random interwoven images of such classy folks as Lauren Bacall, Bela Lugosi and Gregory Peck. I’m not exactly sure how I’ll go about making this, but I’ll figure it out. Is it too much to put in a few Cinema quotes as well? Is that lame and dorky?

So looks like I’ll be a busy lady. My family’s also plans on taking a vacation in Barcelona for two weeks in the middle/end of May. I’m super psyched about that. I’m second guessing purchasing a scanner and might opt for giving my self a camera for my birthday. I can’t do much with a new scanner in Barcelona and all my film cameras are either busted or too archaic to use for tourist-ing. So hopefully I’ll have lots of new work to show everyone in the next month or so, painting, photo and book stuff!

Here are some random images, figure drawings and sketches from MICA years past and of course my Lauren Bacall woodblock print from LaG.

A review of "Red" a new play on Broadway about Rothko

Last night I saw "Red," a brand new play on Broadway. Alfred Molina plays a middle-aged Rothko, at the point where Pop Art is starting to "stomp" abstract expressionism. Rothko is commissioned to paint a series of murals for the swanky Four Seasons restaurant, and he hires a young assistant, played by Eddie Redmayne.

At first his assistant is eager, and naive about art and the art world, despite going to art school and being a painter himself. He really has no deeper knowledge about art, than perhaps the casual viewer, but he does have a passion for it, and he looks for truth, meaning and soul in the art he encounters. When Rothko asks, “Who is your favorite artist?” he replies, fervently “Jackson Pollock!” Everyone in the audience gave a knowing laugh, (it appears that us art dorks are in very good company) as Rothko rolls his eyes, “Wait, ask me again!” and Rothko does, “Picasso!” was expressed with equal exuberance, tempered with a little hesitancy. This is the sort of exchange that I think really hit home for me, going to an art school, talking with professors and other students about art, artists and various movements. Had the eager assistant said Rembrandt, Rothko might have been impressed but to choose his contemporary, even a rival of sorts with such gusto and in a way such ignorance at that point did not put him in Rothko’s good graces.

Alfred Molina as Mark Rothko

Rothko talks about the way he and his fellow Abstract Expressionists “stomped” Cubism to death, his usage of colors, lighting and the way he wants his paintings to pulsate. The Title “Red” of course comes from Rothko’s intensive use of various hues and shades of red, there are discussions about the meaning of “Red” and the connotations associated with it. Blood, passion, heat, life… Rothko says that his greatest fear is that if “the ‘Red’ were to be overcome by the ‘Black.’” The “Black” signifying death, the unknown, the absence of red, “Black” is the opposite of “Red”

One of the most visceral moments is when his assistant (who I believe remains unnamed) helps him prime a canvas. In the center of the stage (set to look like Rothko’s studio) there is an easel of sorts, just a panel and attached is some sort of pulley system, so they attach the blank canvas to hooks on the back and pull it up so it stands upright a foot or so above the floor. On the floor, they first put a drop cloth down, clean side up, it almost looks like some sort of ritual, as they do all these steps in unison, the assistant gets the buckets of paints and brushes. One bucket on the left and one on the right, they each take a brush and the music swells. They each start on either side, Rothko on the upper left, the assistant on the lower bottom. The first brushstroke on the canvas is magical and somehow painful, it’s sloppy and dripping, but you become more and more involved and excited as more of the canvas becomes covered. They duck and dive around each other in a sort of strange un-choreographed dance, that presumably they have done many times before. The audience sees the white canvas becoming saturated by this intense “Red” right before their eyes. When finished, both actors are covered completely in splotches of red paint, their heads and hands; faces and arms are totally red, even visible from my nosebleed seat. As they take the canvas off the hooks and move it to lean against the wall, you can see the gory remains of their paint on the white wall/easel and on the floor and drop cloth. It brought to mind the hanging beef in a butcher store, hung on a hook, like the one painted by Rembrandt.

This play really was fantastic for any art enthusiast, it was great to hear Rothko rant about Pop Art, Warhol and the soup cans and Liechtenstein and those “comic books.” Do you really think that Warhol will be hung in museums a hundred years from now?” – “Well he’s hung in galleries now next to Rothko,” one of my favorite discussions is when they are talking about the blatant commercialism of Pop Art and Rothko’s own latent commercial leanings (with the murals,) and how “at least Warhol’s in on the joke!”

Bottom line, this play made me think, it made me view Rothko I a new way (as I came into it being rather indifferent to his work,) it made me think about color, light atmosphere and the life of a painting. It spoke about being an artist and being and aspiring artist, the rapid changing of tastes and the art world itself. It was brilliantly written, and surprisingly fast paced for a play where just two guys talk about things I really care about for an hour and a half. Alfred Molina was great as the intense and often cynical Rothko. Eddie Redmayne as the assistant was so very similar to people I’ve known in real life it was incredible. The only problem is that it kind of does fall into that stereotypical “volatile” artist, grappling with his own obsoleteness in the face of the new generation and the “eager, naïve” art student grows and learns about art in the process of watching the death of the old form. But hey, it was fun, and entertaining but it was also much more than that. It made me think. More so than other plays, that when you come out you think about the characters, the writer, costumes, the acting, the sets, etc. etc. This play made me think about these larger concepts of art and meaning, issues impacting my own life and with relevance to the world we live in and the art world some of us aspire to live in.

Here's a link to learn more about "Red"
http://www.telecharge.com/behindTheCurtain.aspx

On the threshold and old Florence art

I feel like I'm on the threshold of something good. which is good - because I feel like I've been kind of in stasis for the past couple of months. I think December will bring good things, I've been stressing a lot lately about a great many things but this past week went from really, really low to a medium high in a relative short amount of time. Sometimes I think that things must happen for a reason, so I have a good feeling now about the future. I feel like now would be the time for a fresh start, I feel optimistic for a change, still not totally there yet in what I want to accomplish but at I'm on the right track.

I've been feeling the art itch again, but it's hard because I really have nowhere to work. I miss my studio in the Bank building sooo much! I made a handmade sketchbook for a present for one of my friends, so I think I'll make a few more if I can find a place that sells book-board and find a recipe for wheat paste. books don't really take all that much space to make, it's the painting and mixed media stuff that feels like a daunting task at the moment. And I would like to be sketching or drawing but I feel so uninspired at home to start on something. Ugh.

So for lack of any new work to post I'll post some of my stuff from my semester abroad in Florence. This was the Spring semester of 2008.

The first image is a painting I did in Piazza della Signoria of Cellini's Perseus in the Loggia dei Lanzi. I sat there for a couple of hours in the cold and dark with my paints, being harassed by Italian men but I think it was pretty worth it.

The second painting was done from the view up at Piazzale Michelangelo on the other side of the Arno. This was done in a few hours as well from about 1pm to about sunset at maybe 7. This was a whole other experience since Piazzale Michelangelo was pretty crowded on that lovely afternoon with tons of performers and tourists. I remember there was this awful music from this Native American troupe, it was like listening to Yani ALL DAY. That coupled with the Japanese tourists the would want pictures with me was pretty frustrating and hard to concentrate. Any way, this painting is unique in that I first primed the canvas with gold spray paint and then went on top of that with oils.

This mask was handmade by me, using what I believe to be the traditional Italian mask-making process. There was a lovely mask store that I always would pass and one day I stopped in and started talking to the owner. He invited me to come to one of the workshops that he taught but unfortunately a lot of were after I would have had to leave, so he invited me to come anytime I wanted and he would show me one on one how the process was done. It's kind of a paper mache process with molds and glue. It was a lot of fun and a total cultural Italian moment for me. In return I gave him one of my etching I did depicting the opera Madame Butterfly and he gave me one of his prints. I painted the masks in oil and gold and black spray paint, not the traditional water based paints because I wanted a full range of color.

While I was in Florence, I took printmaking. I had not had the chance to take it at MICA and I had taken some classes in high school and again at the Art Students League, but I can't get enough of it, so I found myself in a position to take it abroad. In this piece I was trying to depict my love for both New York and Florence. They are such different cities but I wanted to show how much both inspire me artistically.

This etching was kind of an experiment. I was trying out the photo transfer process on a spare plate and I liked the graphic and textural quality of the overlapping images. I played around with layering, removing and adding parts of images, using cheese cloth to texture the resin and dripping the resin to get different effects. I then went on top of the finished print and used a reddish, greenish ink and watercolor.

I hope everyone had a great Thanksgiving, cheers!

Halloween Sketches

So I've been feeling particularly Halloween-y as of late. I've been watching a lot of the old monster and horror movies while working at the video store and I've also started reading H.G. Wells' The Invisible Man. I've decided to dress up this year as a Drive-in roller waitress from American Graffiti, mostly as an excuse to wear those rockin' skates that Jonathan Trundle gave me. I was going to be Cesare, the somnambulist that strangles people from The Cabinet of Dr. Caligari, but I thought it might be a bit obscure.

Anyway, here are some recent sketchbook drawings, all done in pencil. And of course my pumpkin paintings, done in acryllic, Vincent Price and Frankenstein's monster. Creepy bugs, monsters and bodies are basically what's been on my mind the past couple of weeks. Happy Halloween!!

The Labors of Hercules

These images are from my series “The Labors of Hercules” which was also a part of my Senior Thesis. This series basically took similar ideas from the “Family/preservation of Heritage series” (tradition, cultural values, etc.) and made them more focused on cultural identity as opposed to personal identity. The pieces depict the individual labors in a very simple way, the slaying of the creatures or the action of the labor is not shown directly but I wanted the observer to understand as much of the myth as possible without the paintings being overly explicit or literal. The order of the images is actually backwards because the Lion is supposed to be first and Cerberus is last.

Cerberus- Spray paint and acrylic on panel.
The Cretan Bull- Gesso and pencil on wood.
The Stymphalian Birds- Oil, tin foil and shellac on wood.
The Golden Hind- Spray paint, pencil, acrylic and shellac on wood.
The Nemean Lion- Oil and shellac on wood.

On a different note, I'm trying to figure out why my default language/type on this blog is Hindi...
व्त्फ़? = WTF?

Some Older Work (First of the Family Series)

These pieces were done during the Spring of my sophomore year at MICA. This idea of the Family / Preservation of Heritage Series was germinated in my Collage & Assemblage class for the assignment of "Ageing and Distressing" in which we had to take new materials and make them look old or worn.

Work

More Work

Here is some more work my Senior Thesis, (from September '08 through right before I graduated.) These pieces are from a body of work titled "The Preservation of Heritage," I'll give you the abbreviated artist's statement:

These pieces reflect my interest in Family and Heritage themes. I have been using old family photos and photographs that I’ve taken myself that I feel represent some aspect of my family life or my experiences growing up and using them in small pieces usually on wood, canvas or panel. I use my family’s snapshots because I find interest in forgotten people and events; this holds an element of mystery for me. I feel like I am reclaiming part of my heritage by re-appropriating these images in my art. I use a myriad of materials, spray paint, oil paint sand, shellac, matte medium, acrylic and whatever else I can find.

I really enjoyed working on this series and will probably continue using more stuff found in the basement. I've also been meaning to root through some of my mother's old photographs since most of photographs I've used so far have been from my dad's side.

I'm going to try to get some decent images of some of the photo work I've done this year as well as images of the books I've made. Hopefully they'll be up for your viewing pleasure before long.