The Embrace: Talking Bodies

Embrace
Lithograph
7" x 9"
2006

This was a very personal piece for me. Also part of a 4 print series, this was the only one photographed because it sufficiently depicted what I wanted it to. My goal with this series was to take a common part of the human figure and present it as something uncommonly expressive. Here, it is obvious what the arms represent when they are arranged in that way. I was also interested in the "landscapes" that individual parts of the body, when arranged in a certain way, can create. The human body is so aesthetically pleasing.


As humans, we attempt to apply as much representational significance to each object. Specifically, as humans we try to attribute meaning to parts of the body or bodily positions. For example, we use our hands to communicate-- whether its with a "thumbs up" or a flat palm sticking straight out at someone. Many times, body language is as involuntary as speech can be because it is so integral to human communication. Do you ever think about why you put your arms around someone that you love? It's language.

Crying Prints

Get To Work
Lithograph
6" x 10"
2005

Here is the "sad" face series I talked about before. My point was to illustrate that sadness is felt on a universal level-- we all feel this way but it's not very appropriate to express sadness. Sadness can be contagious and no one wants to be responsible for spreading the "disease." The act of crying is an act of relief that is the culmination of built up tension. That sadness we often force a lid on eventually comes out in a nasty explosion. Somehow, by producing these images, I was able to manifest that emotion without the explosive effects. The process of drawing the image out before I created the plates is really what represented the "art" for me. Drawing is like therapy to me.




¿Como Te Va?
Lithograph
6" x 10"
2005

The person who purchased this series expressed to me that the image provided that relief for her, also. This series of prints and it's production fueled my passion for printmaking-- or generally, making art. There is something very special about being able to create a work of art that evokes a powerful emotion not only in the artist but in the audience. I really hope I can continue doing that for a long time.

Blue Boy
Intaglio

10" x 13"

2005

Llorón (See Feb. 3, 2007 post)

Self Portraits

Emerging Sketch
Graphite on Paper
8.5" x 11"
2005

Fatigue Sketch

Pen on Paper

8.5" x 11"

2004

I've been drawing my face ever since I could. It's not egotism, it's just that I'm the most willing and accessible model I know. I don't like to bother people or make them feel like they are a model. They get nervous and start thinking about what they are doing and how they look. I'll draw people when they are not watching but you can only accomplish so much using that method. For realistic representations I need more time and more stillness.

Self Portrait
Graphite on Paper
8.5" x 11"
2006




Gasp!
Colored Pencil on Paper
18" x 24"
2005

The Human Figure

Imprisoned
Charcoal on paper
18" x 24"
2006

The image of the human figure can be a very powerful thing. I have always been interested in the human figure-- the form in itself is amazing to me. These works were produced in a Human Figure course I took. Most of the following images are purely academic excercises for the purpose of simple rendering practice.

Although I enjoyed learning how to perfect rendering of the human form, I prefer using the form-manipulating it's attributes- and transforming the form into a vehicle for communication.

Infant portraits

Infant 1

Graphite on Paper

8.5" x 11"

2004

There was a period when I became fascinated by the beauty of infants. Children of all ages never have to try hard to "be beautiful." Their conception of what is beautiful is most correct because it is most consistent with truth. Children see beauty in simple things. This disposition is often washed out as we get older; our perception of what is beautiful becomes skewed.

Infant 2
Graphite on Paper
8.5" x 11"
2004

Infant 3
Graphite on Paper
8.5" x 11"
2004

Some Portraits

Preparatory Drawing for
Llorón
Graphite on paper
12" x 11"
2005

My younger brother inspires a lot of my portraiture work because he's my only sibling and he's almost always accessible. His facial expressions are extremely animated--we have this in common. Growing up, I always used him as a model. The idea behind this drawing is based on a picture of him at his 1st birthday party. Taken out of the birthday party context, the expression conveys a feeling of hopelessness, an almost fatigued loss of faith, that comes from abandonment. Bewilderment is a common part of the process of development. As we grow older, we become more independent and we assume more and more responsibilies. It feels good to grow up, for the most part. But it is easy to become overwhelmed by new responsibilities and a forced separation from those who previously nutured you. I wanted to emphasize the physically draining aspect of feeling abandoned. A child, namely one that can not speak, will manifest his emotions in a different way than an adult. Adults do not typically demonstrate these emotions for obvious reasons. My intention was to manifest, 2 dimensionally, the emotion of bewilderment. Personally, it was very satifiying to visually express that.














Llorón
Lithograph
12" x 12"
2005


In spanish, llorón, translates into "cry baby." My brother was known for being a big llorón. I enjoyed transforming the drawing into a print. The process allowed me to create a more serious portrait and convey the emotion more adequately. I think we can all identify with a crying child who can't control emotions as well as adults can. Adults tend to become masters of masking, or moderating, their emotions. This print is part of a 4 print series devoted to an investigation of how the face appears when a person is sad.