Gebit
Gebit
Gebit
Gebit
느껍
And they tend to look like abstract paintings, and it's not until later that, after I've developed quite a few layers that I start to actually put imagery down.
The main imagery from this painting came from a book that I've been looking at. It's called Hong Kong Comics. It's about the history of Manhua.
And I saw this image of this one character from the 70s who was chained up, and it made me think about how, if you have problems, you tend to think of scenarios that compound the problem, make it even worse.
So I found this other image of these little kids that were beating up in this dinosaur, so I decided to put those two images together.
And for me, it was about how people manifest other problems that tend to compound the original problem that they've had.
I think that I could be the guy in chains. I think if anything, I tend to cause my own problems when I do create a painting.
So maybe this painting is a great metaphor for my painting process or how I think about my painting sometimes.
Painting doesn't come to me as easy as I'd like it to come sometimes. I get real critical about how the painting is going, the painting's form, whether the content is, or whether I'm painting towards the content, whether the images I'm selecting are the right images.
There are all these variables that come into play, but when I look at the history of all the work that I've done, that seems like when I hit these walls, I tend to kind of break through that barrier.
That's probably why I paint bricks on a lot of the flat areas of my painting. They symbolize a lot of things for me, walls that we build, things that hold us back.
Before, I would think about an idea and that idea would develop this concept that I would paint towards where now I'm trying to be more in touch with my intuitive side so that if I decide I want to paint over an area, I'll paint over it, or if I decide to put a mark down,
I don't labor it or I don't beat myself into the ground trying to think, well, should I do that or shouldn't I do that? I'd rather just react to my impulse and see what happens.
Sometimes there are great surprises and sometimes there are screw ups and I have to fix those areas and go on.
So I'm thinking of just maybe making a figure that kind of comes like this, like that.
Just to finish off this piece. Because right now, I think right now what's happening with the painting is there's really a lot going on, but I have this feeling that there's nothing really unifying the whole thing, so by adding this figure here, I could tie it all together.
This is one of those instances where I have this feeling that I should do it, but I'm really afraid to.
It's not so bad with acrylic. You can just wash it off with an oil stick. That's our spray paint. It's a bigger commitment.
I have two whites. One's a little brighter than the other.
I'll go with the duller one. Let's see.
It's kind of like being trapped inside of something else, because this is really that part of you that is kind of inside those feelings that you have, where this kind of delineates maybe your physicality.
But I think once I've had a little bit more time to look at it, I'll have a better idea.
I'm going to go with the duller one.
I'll go with the duller one.
I'll go with the duller one.
I'll go with the duller one.
I'll go with the duller one.
It didn't work, so I had to take it off.
I'll go with the duller one.
