All my life I have and still love painting and drawing live nude human figures. I am always so thrilled to have a live subject in front of me. 50% of what I learned was self taught, and 50% of what i learned was from university schooling. After University I worked as a graphic designer, and on my free time I would paint/draw. Working in an office can become straining after a while. I really just wanted to move to Europe and start being an Artist Full-Time 100%!!!
I was a victim of a severe Hit & Run accident in 2003, in which my body was hit by a car. I spent 5 weeks in the hospital, almost lost one of my legs, and my life! Thank goodness for the wonderful surgeons at UCLA medical center, and of course the support from my friends and family, or I would have been toast by now!
That was my WAKE UP CALL.
Less than a year later I traveled a bit in Europe, decided to move from Los Angeles to Berlin, and started my path into becoming a Full-Time Artist. This was not exactly easy, and I had no clue where to start. The truth is that if I had not start then, when would I have begin?
Learning a new language and starting out fresh was just what I needed mentally. After several years of being a Full-Time Artist, I finally got the chance to exhibit in group and solo shows internationally in Los Angeles, Germany, and Austria. I was so excited to hear the shows now only went so well, but also sold!
There is only one route for me which is to go forward in life. That is my focus and honestly the best way I know how.
Although the Hit & Run driver was never found, I decided years ago to leave that behind, as my first life.
NOW, my second life, in which I am truly lucky to have been given, I believe things and paths must definitely happen for a reason.
Furthermore, I like to thank you for reading, and I wish you the happiest and successful life ever, and of course, continue BEING CREATIVE!!!
My body of work deals with the human figure and puts it in relationship with the daily news of a globalized world. I utilize newspapers not only of various languages, but also that of reference to my cultural and racial background as well as the places that I live in and travel to: daily record of our social and cultural awareness.
Newspaper to me is like Wine… they age. Wine age by taste, and newspaper age by color… the more yellow or brown the newspaper turns, the more authentic it becomes within time. I decided to make a comparision using these two items people use everyday as a reference as both must be treated well environmentally in order to age well.
The second reason I treat newspapers with great respect is the relationship it brings to me of time and date in conjunction with what I went through mentally recovering after being a victim.
My work has called stark, neo-expressionistic one-of-a-kind charcoal nude figure drawings on newspaper when I first created them in 2003. In 2009 I began transitioning into oil on canvas using a transfer techniques.
Creating my art is not only about expressing how I feel about the world but also how I feel in the world, in my environment, in my time.
My body of work deals with the human figure and puts it in relationship with the daily news of a globalized world, utilizing newspapers of various languages that reference my cultural and racial background and the places that I live in and travel to.
The black and white three-dimensional figures start a dialogue with the news items on the canvas. A dialogue that is both graphical and psychological as my personal and at times intimate experience of drawing the live figures becomes part of my news.
The technical rawness I like to keep in these pieces are a direct translation of my psychological experience in a day-in-day-out society.
I have always been fascinated with the preparation sketches of Michelangelo and Leonardo Da Vinci. I find the unfinished rawness of them more appealing and more honest: they strike me as an undisguised ‘skeleton’ of the finished works. One of my favorite Artists of all time is Egon Schiele as his is work screams with energy!
Focusing on the technical rawness, my goal is to keep the viewer tuned with the direct translation of my psychological experience in a day-IN-day-OUT society being stripped of all the external barriers: expressing how I feel about and in the world, in my environment, in my time.
No matter how abstract, or realistic my paintings or drawings can look, there will always be a moment of raw truth which lies beneath the image, whether fluid lines curving beside a hip, or a prominent brush stroke across the head.
That the figures that I depict would have to be stripped of all their external barriers and that newspapers — a daily record and ‘backbone’ of our social and cultural awareness—should be my canvas seemed only logical.