figure in the garden 50x74in.jpg
 

when i was in undergrad, i would create abstract figurative works. most - all - depicted women, usually placing emphasis on the body. there was a question as to if i was objectifying these women, even though they had no faces. it was just abstracted female bodies, with emphasis on the natural curves of women. at the time i was having this moment with a view of my own body and how it compared to other women’s bodies. what made other women’s bodies more valuable than my own? ANYWAYS, PAINTING THESE ABSTRACTED FIGURES was almost like phase. i had always created abstract expressionist work but i started to notice that the particular style was being overshadowed by the resurgence of figurative work and portraiture. now i knew i couldn’t paint or draw a face to save my life, so opted for figurative painting because i felt there was this obsession i had with women’s bodies. i didn’t care too much for the face or the entire body, but the particulars of the stomach and the arms and the thighs. basically parts that can make a women feel the most vulnerable. anyways i did abstract figurative work for a while until i graduated and went back to my roots in abstract expressionism. now i bring this up because it was never my intention to establish a figure in my work. i just wanted to focus on lines, curves, shapes, and forms - and maybe even color. so when i finished this piece and stepped back from it, i couldn’t help but see a figure. so, to me, there is an underlying psychological aspect to my work that i haven’t quite gotten a grasp on. with all this being said, it is interesting to see how the mind and body communicate. how we do things intuitively, yet, in the end, there is some distinguishable visual that we can recognize. maybe this is just the powers of the imagination as not every viewer would see a figure - especially if they weren’t to read the title of the piece before viewing it, and this is just my imagination and my perception of the work. but also there must be some psychological aspect to it in the sense of my inner views about the figure and the body and how these inner views have somehow been visually translated into this work.