Juans reaction when photographs are compared to old master studies.
No, not really. 🙂 I just could’t think of a better title for this… and quite honestly it actually does remind me of what the theme of the beginning of a 1970’s XXX movie just might begin. I mean… I don’t KNOW FOR SURE… but, well, you can judge for yourself.
Welcome to my first real video sample (in New Media class).
Self portrait with a bit of animation 🙂
The following piece was created using images from a Photo Booth at a San Jose, CA wedding. My fiancé tends to be a comedian and as such is very animated. I couldn’t resist the opportunity to animate this one!
Here we have the making of The Struggle: The Sob, 2016.
The Struggle is comprised of (5) 28 x 36 pieces, 4 of which are women, the 5th, a man. All of the pieces distinctly show the representation of a class structure, of the struggling and suffering of women, and of workers. The women are all turned away from the camera. In contrast, the man is faceless, covered by a clay mask, his working hands outstretched before the viewer as if he is giving and waiting to receive… only nothing comes his way (Seen in previous post). The struggle shows the very real pain of life. The pieces are all connected through the treatment of the hands and face. In these works, is a complete stripping of identity.
Below we have the making of The Struggle: The Sob, 2016. (Graphic designer and make up artist, Grace Moreno Vasquez, applies contouring)
Here we have the making of The Struggle: Imagen Nuestra Actual, 2016.
In my body of work, The Struggle, I show representation of the working class, conveying their weathered, worn lives and inner turmoil. This idea dates back to the time of French painter, Gustave Courbet, who was paramount in the emergence of Realism in the mid nineteenth century. Additionally, painters, such as Van Gogh, Jean Francios Millet, or the Mexican Muralists, just to name a few, who painted the faces of, showing the working man or rural poverty.
Here we see make up artist, Brie Dey, contouring our model Greg Fedele. The mask, I made myself from clay.
The Struggle: Imagen Nuestra Actual, 2016, with some cool added effects.
Toward the end of my work with The Struggle I stumbled upon a new body of work. Immediately following the shoot of Mother and Child, we went to a different scene, I photographed Mother and Child In Front of Smoke Stacks and a new body of work began forming. This work questions pollution and a very real class system existent within the United States, as well as addresses health concerns while at the same time drawing a direct connection to the refugee crisis in current events. Below is Mother and Child In Front of Smoke Stacks, with an added video animation.
The methods used in photographing Mother and Child were very different from the closed studio methods of the other works created in the series. In Mother and Child, I decided to use nature as my studio space, looking to the work of one of my favorite photographers, Irving Penn, in particular, his indigenous series; as well as old masters such as Michelangelo, Leonardo Da Vinci, or Caravaggio, in their Madonna and Child studies, with the almond shape created between the two figures, the light traveling from the child’s face onto the mothers, and the very intentional use of the heavy blue blanket. The use of the blue blanket with an eagle woven into the fabric, has a double meaning: The first, the “blue,” is a reference to the Madonna and Child, the second, the eagle or the “Cuauhtli,” is a symbol of the Mexican Homeland. The eagle holds a specific association to the Aztec Empire. It was incorporated into the flag of the United Farm Workers labor union, giving it a direct connection to the working class of Mexico.
Below is an animated gif of the days work and outcome.
Mother and Child, 2016 with a bit of animation:
I am an artist. My usual chosen medium is photography, however I like to dive into new things, try out different mediums. Last summer I decided that I would take a ceramics course given by Frank Olt. (Who is AMAZING) This gif shows one of the first pieces made that summer.
I do continue to go back to the ceramics studio pretty often, ESPECIALLY when I am creatively stuck in my photography. Frank says that “the hands will figure it out.” Of course, they do. I find that I’ll create a piece, play with clay, and undoubtably, every morning I will wake up more inspired….