Re-appropriation: Influence, Methods and Process
My interest as an artist is to provide a visual reference from which the viewer can be re-introduced to art history. My Fragments are stimulated from the passion of one artist to another showing a wide range of influences, including sources from the Renaissance to contemporary artists. The art that I have produced represents values that evoke the humanism and eroticism of the Old Masters and the conceptualism and innovation of the New Masters.
My art form today would not be possible without the computer. My objective is to create a bridge between technology and traditional art. The working methods I employ emerge from the main influences that have helped shape my art. My career as a graphic designer has had a positive effect on my work, a medium used for communication, it has given me the ability to stimulate and create responses. The way that Duchamp challenged conventional thinking about creative processes and art marketing; the paradoxical aspect of Andy Warhol of being sexy and icily mechanical; Robert Mapplethorpe's art that is both precise and erotic; the sensuality and realistic involvement in the Lucian Freud style and many others. By studying their artistic methods I have been able to develop one of my own.
My process starts with a collage made with the use of a computer. I move into the digital world, exploring the new medium and technological advancement; what we know as media art, in which only the technology and the tools are considered to be new. Some of the concepts explored in my art date back through history and have been addressed in traditional arts. Digital technology has now reached such a level of development that it has opened up entirely new possibilities for the creation and visual experience in art.
Observing works of art on the computer gives me the possibility of walking into a piece and focusing on where it provokes and excites me. Many of these works were the pornography of my childhood, and today I still look at them with the same curiosity. Lucian Freud said: "The paintings that really excite me have an erotic element or side to them irrespective of subject matter." The ideal model has already been created and has eternal form. For me, the perfect audience is the specific one that knows, supports and enjoys art.
Today's technological advances have shortened our attention spans and my art reflects and even celebrates that reality. Technology has also given me the opportunity to contemplate the classical iconography of art in private; to possess, to penetrate and to make them mine. It has been through this creative process that I have produced a series of works that reflect my interest in this form of art. Digital art has strong connections to previous art movements like Dada, Fluxus, and Conceptual art. Throughout the 1970s and 80s, artists increasingly began to experiment with new computer imaging techniques. Digital art made its official entry into the art world in the 1990s, when museums and galleries began increasingly incorporating the art form into their shows and dedicated entire exhibitions to it.
With the recent developments in wireless technologies and mobile devices, the internet has become increasingly accessible from any location; we have the opportunity to contemplate the works of art in many different ways. Today we have a new way of seeing; technology has changed the way that we look at art and how we create it. Building on the traditions of art history and using advanced technologies we push the boundaries of artistic expression. Digital technology has revolutionized the way we produce and experience art today and my intent is not to replace the tools but to combine them.
I use appropriation as an act of re-contextualizing, or altering pre-existing information. What I use has been already appropriated; and this pre-appropriated information can be historical or contemporary art, or popular culture. Re-appropriation is my technique. It is my method of working, the vehicle that I use for a variety of viewpoints that have been used throughout the history of art, both celebratory and critical. It is my practice of creating a new work by taking a pre-existing appropriated image from another context-art history or media and combined it.
The new re-appropriated images are studied and analyzed on the computer, manipulated, selected and then drawn digitally, finally print on canvas, and then the pre-selected area is painted on canvas in a traditional way. The digital process delivered to the canvas maintains the traditional forms. The perfect square canvases could be pixels that come from the image observed through the screen or could be Duchamp's chessboard conceptualized. Seen on the wall, my artwork shows clear plastic authenticity and pride.
My art is a reflection of my own journey and a self-communication of vision and experience that reaches beyond a single moment in time, I hope that someone will enjoy viewing it as much as I enjoyed creating it. My work emphasizes freedom of creativity, the right to use and abuse imagery; including masterpieces, for personal aesthetic reasons and as a response to my space and time.