The American Dream, 2019

Oil paint on canvas, 22 x 28 in.

I have a great fascination with the Jazz Era of the 1920s, specifically the Harlem Renaissance and the “rags-to-riches” story of the American Dream. Reading literature like The Great Gatsby, I was intrigued by the concept of the carefree jubilance of the time period. Although the era is marked by institutionalized segregation, the speakeasies and the bootleg establishments allowed more integration. When people danced free from judgement or oppression, they were truly living the American Dream. The woman at the bar, who is evidently more careful about her position in society, realizes that in her desire to maintain her status, she had sacrificed the simple joys of dancing and community, but she is beginning to question this decision. The American Dream does not glorify the trite narrative of the upper-class but instead explores the simple beauty of the little things in life.

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Harlem, 2018

Pastel on paper,
26 x 20 in

The Harlem Renaissance was the height of the Jazz Era, and one of my favorite periods. This pastel portrait was initially quite dull, as the clothed model whom I observed wore a black pinstriped suit. I knew that the piece would appear bland and uninteresting. So, I imbued the piece with a touch of my flair. As I am familiar with the Jazz Era, I incorporated the bright colors and earnest characters typical of the Harlem Renaissance.

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Hidden in Shadows, 2018

Oil on wood panel,
36 x 24 in.

 

“Hidden in Shadows” emphasizes the contrast between the finished and the unfinished. It is inspired by the work of Leonardo Da Vinci, who created portraits with extreme detail in the face and fewer details in the periphery. I showcase significant features in the bust of the model, but as I move away from the center, I use less extensive and less refined line work. The combination of detail and the lack thereof signify the contrast between the finished and unfinished that I have come to appreciate.

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The Lady in Red, 2018

Oil and acrylic on canvas,
20 x 16 in.

The Lady in Red is an oil painting on canvas that is inspired by the timeless elegance of the aristocratic socialite. The woman featured in the painting dons a bright red robe, a color which is indicative of passion and extreme intensity, something that is very characteristic of the debutantes of the 20th Century. This painting was created in a figure drawing studio, from referring to a live model.

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Waiting, 2018

Oil on canvas,
24 x 12 in.

Before this piece, I had focused on creating detailed and accurate paintings. With this piece, however, I wanted to experiment with different colors and artistic styles. The complementary color scheme of violet and yellow are repeated throughout the painting to ensure a proper balance of brightness and contrast. The brush strokes and the detail work were intended to mimic those of Van Gogh’s impressionist portraits. This piece was an observational figure-drawing piece that was elevated to become a finished product.

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Hurry Up!, 2018

Acrylic on canvas,
36 x 46.5 in.

As an artist who is typically comfortable with creating portraiture, I struggled with all facets of this landscape painting. It was a landscape, there were no people involved, and at 36 x 46 inches, it was huge. Despite challenges, I finished this painting to honor my dad, who enjoys the serenity of nature as he goes hiking.

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The Hatchet, 2018

Oil on canvas,
14 x 11 in.

I read Gary Paulsen’s The Hatchet in my school’s literature class, and for some reason, had a very clear idea of what the novel’s protagonist, Brian Robeson would look like, but his face changed with every chapter of the book that I read. I wanted to determine what he would actually look like on paper/canvas, to test my ability to visualize physical descriptions of book characters.

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Prism, 2018

Oil on canvas,
20 x 16 in.

One of my favorite artists of all time is the American contemporary street artist Shepard Fairey, whom I admire for his signature style, notably his ability to separate colors in portraits. I wanted to explore and experiment with Fairey’s style, separating the face into separate colors and hues. Midway through the process, I began to move away from his style, and gradually began to partially blend the colors together to achieve the cool effect, as can be observed in Prism.

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In Living Color, 2018

Oil paint on canvas,
20 x 16 in.

In Living Color is an unfinished dual-tone self-portrait that utilizes a purple-yellow complementary color scheme. With this self-portrait, I wanted to experiment ways in which I could portray the face in different colors. As this portrait is oil on canvas, the nature of the oil paint–and the slow-drying process–made it difficult to separate the two complementary colors and ensure that the colors didn’t mix and make brown. I ultimately liked the sketched-out nature of the rest of the painting, and decided to leave this painting unfinished, representing the juxtaposition between vibrance and tedium.

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The Green Hijab, 2018

Oil Paint on canvas,
20 x 16 in.

The Green Hijab is an oil painting on canvas depicting a Muslim woman donning a bright green hijab, as the title of the piece indicates. In creating the piece, I experimented with using palette knives to apply the paint instead of paintbrushes. Using a palette knife allowed me to add a unique texture to the painting, which added dimension and interest to the piece.

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Amazonian Eve, 2018

Oil paint and oil pastel on canvas,
20 x 16 in.

This painting started as an observational portrait limited to three hours. As I continued to observe the model, I began to see a potential narrative that extended beyond reality. I saw a determination in her eyes that was reminiscent of Wonder Woman, and a vulnerability in her stance that reminded me of the biblical Eve. I thus imagined Eve living in the Amazons, as a woman who is independent of her actions. I focused on the juxtaposition of realism and surrealism in this piece, experimenting with oil pastels to create a more fictional mood.

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Glitch, 2018

Oil on canvas,
24 x 12 in.

Glitch is another painting that I created at the local art center’s figure drawing studio. This painting was created over a three-hour session, in which I painted the model 1.5 times, first in the background of the canvas but then again with half of her body in the foreground, split by the edge of the canvas. I wanted to play with the composition of the piece and explore ways in which I can emphasize dimension with subject placement in the painting.

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Untitled, 2018

Oil paint on canvas, 28 x 22 in.

This oil painting on canvas is definitely experimental, attempting to transcend reality. The intention of this piece was to create a sort of loop. In the top half of the painting, the subject of the painting appears to be submerged underwater, whereas the bottom half of the painting depicts the subject of the painting to be jumping into the water, creating an illusion of sorts.

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Palette Knife Practice, 2018

Oil paint on canvas,
14 x 11 in.

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