Drawing It All Together
A sweeping glance over my current portfolio will reveal a collection of still lifes, studies, and, strangely enough, haunted, stylized characters cast upon brightly-coloured canvases. Although I try to make a distinction between my technically and conceptually driven works, one will almost inevitably bleed into the other; a simple sketch of an original character quickly adopts more advanced rendering as my ambitions mount and overtake my vision. A simple self-portrait morphs into an unsettling reflection on some hidden facet of my mind. Part of it is perfectionism, a need to excel in objective art and prove I have the skills to do so. Part of it is simply the fact that there’s a lot I have to say through the one outlet that feels right. While I won’t go so far as to call myself a reserved person, I have a hard time conveying my emotions in a way that comes across as authentic when it comes to face-to-face communication. My art, especially the more personal projects, aims to communicate with the world in ways I am unable to, and to lay out my emotions for my own ease of consumption.
The first priority in my work is always an objective depiction. Be it a fantastical concept or a live model study, there is always a set vision on what my piece is meant to look like. Most studies, be them still lifes or life drawings, are done in charcoal, building a strong contrast between dark and light values while still conveying the nuances of highlight and shadow. This can especially be seen in my still lifes, capturing the various ways light falls upon glass, fabric, wood, and even skin. When I turn away from capturing the objective, however, I prefer the freedom and flexibility digital art gives me, in everything from colour to composition. My conceptual works aim to capture visceral narrative tones, be it an overstimulating and fearful encounter, or a soft and quiet moment between subject and viewer. More than anything, my works are meant to create an inescapable atmosphere that intimately captures my thoughts during each piece’s creation. The figure in Self Portrait #1 beckons the viewer with a piercing gaze and a handful of pills, seemingly unaware of the gaping cavern of their exposed ribcage. That same figure stares off into nothingness in 3:00 AM, melancholy and isolated within the dim light. Yet for all the technical prowess and tangible emotion that can be captured in gritty realism, just as much can be achieved through striking distortions. On the opposite side of the spectrum stand heavily stylized figures, with large doll-like eyes and cell-shaded bodies, and it is that exaggeration which allows me to express the intensity of my emotions. In many cases, I go for bright and eye-catching colour palettes, yet it’s rare for me to depict a character smiling, their expressions more often numb and melancholic, or stretched in despair and horror. My illustration, Sugar Trip, takes this technique to its extreme, depicting a distraught girl framed by a neon-rainbow fantasy. Glitter, hearts, and butterflies all litter the background, yet the focal point reveals bloodshot, terrified eyes as candy-coloured fluids leak from her face. For me, contrast, be it in values or thematic tones, has always been an important aspect of my creative process. Colours and poses draw viewers in with a cute and cheery atmosphere, only to flip them on their heads as the disturbing reality of their subjects sinks in; like a pitcher plant lures its prey in with a sickly sweet scent before devouring them whole. My work is meant to be confrontational; to dress up the ugliest parts of myself and put it on display, if only for the sake of being heard and acknowledged at all.
At its core, communication has always been my main goal, and it is my hope that my works not only send a clear emotional message to viewers, but are able to convey a complex mix of feelings. My goal in the future is to hone my technical skills further to create striking surrealist imagery in my physical pieces, while leaning further into a more distinct stylization through my digital works, with both aiding me in my portrayal of cohesive themes.