Gouache, felt pen, and foil on stretched canvas
My first step was to decide which theme I would use as the foundation for this new creation. Since dance has largely contributed to my creative development, I felt I should honor it through a perhaps disparate yet fresh take on the idea of movement. My intent was to transpose a realist image - a video of my dancing - to an abstract one. I have always been fascinated by abstract work: its ambiguity, subject to myriad interpretations, and often provoking uniquely intense feelings. This approach is similar to that of the painter Nicolas De Stael, known for his abstract landscape paintings. He expertly blended two worlds: while his images are a concoction of lines and shapes, they are evocative and clearly allude to a realist scene.
To begin, I selected screenshots from the video entitled Tessellate set in an industrial Chicagoan building. I carefully chose moments where my body assumed an interesting shape - sometimes mid-movement - to accurately capture this very idea of movement. I then outlined these images onto tracing paper. Since there is no visible view through the windows composing the scene, I experimented by drawing different backgrounds in each until settling for the iconic L train. Not only does it add visual appeal, but - similar to my train collage - it showcases my attraction to the City. Next, using a projector, I transferred the final sketch onto a large canvas; at this point, I was ready to paint and metamorphose this realist image.
I did not have a clear representation in mind of how I wanted it to emerge. But that was the idea. I had a vague vision, an effect: some silvers, blacks, and grays as the main palette, some texture sprinkled here and there, haphazard lines. I wanted to elicit the precise energy of dance. Thus, I placed the canvas on a flat surface, so I could hover over and move around it. Jackson Pollock was certainly in my mind at that moment. Then, I put music on and let the cool rhythm guide the paintbrush.
This process was done over several weeks in order to allow my feelings to evolve. It is akin to learning choreography: you start with the technique, the distinct shapes and steps, and as you learn, you incorporate the energy and emotion; the result effectively fuses “realist” moves with abstract feelings.
I am aware my choice of somber color is unusual, but there is a point. Instead of working in continuity with the habitual warm and occasional cold colors I employ, I deviated. I wanted to get out of my comfort zone, something I need to do more of. However, by portraying the theme of dance and the city – conceptually – the piece pursues the flow of my work.
Finally, by utilizing different brushes and alternating between swift motions and succinct strokes, the piece translates the elusiveness of dance, when you simply let your body move. The piece reflects the abstract, unclear movements of my mind.