In Rooms, I start with a monochrome aim. I use glazing to achieve maximum saturation, and select a specific color for each canvas to create a kind of a color take-over in a room, where the idea of “no second chance to a first impression” lives. My figuration comes from a collaging from the online landscape, I am interested in how its rules and physics seem abstracted from the environment. The internet is itself an add-on for me, because I have a memory of reality without it. I use fashion editorials in combination with works of art women-made or women-centered. I want Art and Fashion to be leveled, and to read as equals and equally important elements for culture and self expression. Sometimes just one found character can trigger an entire painting then I continue to dress and surround them with found object d’art, just like I surround myself with Talismans in my studio. Those only work in arrangements that move continuously , and become breadcrumbs that lead my way back if I get lost. Working Japanese Imagery into my painting comes from growing up with manga cartoons. My characters’ static quality, flattened against the picture plane, comes from looking at 19th century Persian painting also from growing up in Caracas where I was first exposed to Persian art, among many other cultures. In particular “Two Acrobats” attributed to Ahmad, depicting the early Qajar idea of beauty, where the women appear
upside down “twisted like pretzels to maintain a balance that flouts laws of gravity and perspective”. My painting is a form of looking; a way to suggest a subject for reflection, where all is open to impulse. I don’t draw my figuration first, I like the surprise of what shapes may be brought up by color and paint. I work for unpredictability. I painted my whole Rooms series because of Henry Matisse’s “Red Studio”. I am inspired by its bold monochrome outcome, in a place where the work of art is the highlighted element. Matisse colored-in only the art in his Atelier. Everything else is red or rather; —Venetian Red was applied at the very end, and brushed-on relatively thin on a seemingly perfectly finished painting and is spreading like a tsunami over the village of the studio. With the same steady rhythm of it’s slightly transparent application, we follow his brushstroke trajectory as we encounter several elements in the space of the canvas. At the “Red Studio” the strength of the work of art is to prevail and stand stark and in full chrome, faithful to the source. The directness of the act of painting, getting to the non-stoping phase, residing in the problematic of value, how to execute it; color, how to saturate it; recognizing what I like against what I don’t; changes continuously. The recognition of this possibility, enables for incredible things to happen, including navigating time in both directions. PG24
the collector, oil on canvas, 24 x 24 in.
self portrait with prince, oil on canvas, 24 x 24 in.
interference violet, oil on canvas, 24 x 24 in.
studio visit, oil on canvas, 24 x 24 in.
gauguin, monet & marion st magenta, oil on canvas, 24 x 24 in.
american voter, oil on canvas, 24 x 24 in.
ufo, ntf, AI, oil on canvas, 24 x 24 in.
sleeping at the capitolio, oil on canvas, 24 x 24 in.