Posts

,

Harlem Hopscotch, 2018 – Maya Angelou tribute

Collage, 9 x 6 in. each

This piece is inspired by its namesake, Maya Angelou’s 1971 poem. It originated as a project for my literature class, in which I was tasked to create an imagery scrapbook. I chose “Harlem Hopscotch” because I wanted to understand more about the lives of those in the African-American community and honor the literary master Maya Angelou. I created sixteen panels, each representing a different line of the poem. I used my own interpretation of the poem and my perception of its cultural significance as inspiration. The use of paper cutting, rather than paint or pencil, proved to be incredibly time consuming.

/by
,

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.

/by

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.

/by

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.

/by

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.

/by
,

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.

/by

Contrast, 2018

Acrylic on canvas,
14 x 11 in.

I explore the beauty of complementary colors in this portrait, which is one of a series. I am fascinated by complementary colors. To this day, I am amazed when blue and orange mix together and create a murky gray but produce an outstandingly vibrant color scheme when placed side-by-side. “Contrast” was my attempt to harness the juxtaposition of the bright orange and the bright blue tones to create an intriguing portrait.

/by

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.

/by

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.

/by

The Muse, 2018

Acrylic on canvas,
30 x 24 in

“The Muse” is a monochromatic portrait that I have created from the imagination. The inspiration came from my art class, when I observed one of my peers drawing next to me. In creating this piece, I wanted to flip the script. Typically, the subject matter of a painting is constantly scrutinized by the viewers, as they attempt to interpret the work for themselves. However, I flipped the script on the observer, so that the “muse” is no longer the one under scrutiny: it is you. She is the one that is telling the narrative, and you are now her muse.

/by

The Meditation, 2018

Pastel and Conté crayon on paper,
25.5 x 19.75 in.

This drawing was created in a figure drawing studio with pastel and Conté crayon on paper. I was especially prideful of this piece because of my ability to replicate the model’s proportions and facial expressions on paper. I decided to opt for muted and earthy tones to allow the viewer to gain a sense of appreciation for the stoic, meditative positioning of the model.

/by

Simplicity, 2018

Oil paint and oil pastel on canvas,
14 x 11 in.

Simplicity is an oil painting on canvas that I created at a local figure drawing studio, studying the bust of a live nude model. With this piece, I continued to experiment with abstracted color schemes, surfacing the model’s yellow undertones in her skin and emphasizing the red hues in her hair. I then went over the piece with oil pastels, creating dramatic and interesting lines over the painting to add character to the piece.

/by
,

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.

/by

Vocabulary Book Cover – Daily Vocab for My Mom Volume 1, 2018

Oil on canvas,
11 x 14 in.

I illustrated “Daily Vocab for My Mom” to improve my artistic abilities and help my mother. She is a Korean-American immigrant, who is always trying to improve her English. I started to create illustrations of words that she asked me to define for her. As art is universal, she has been sharing these images with all of her friends, who similarly want to improve their English. Since I first started in 2015, I have compiled what is now over 200 entries into an illustrated dictionary. The image shown is the cover art for the first of four published books.

/by

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.

/by

Palette Knife Practice, 2018

Oil paint on canvas,
14 x 11 in.

/by