Select a project to view. This series of paintings were base in my experience while i was in Minneapolis Mn. This is a series of paintings call fragments this series I explored my own memories of the locations that i had been since i moved to the United States. Each mark and brush stroke represent a small fragment of what i remember of those places that i had been in my past. In this series of paintings i explored the information that is all around us like object been lose or forgotten in the street or newspaper just floating around by the air in the street.
View the discussion thread. For me that has changed and instead, I DO sit down for a few seconds and start to listen to the reality instead of making it up in my head. I think one big example of this would be in my painting Luna llena where we see two figures, a child and a statue. In order to understand this painting, you need to slow down and unfold the painting to see it for what it is. Allowing it to resonate. I think about how a song — that quiet morning experience — might become form or shape in your painting.
In viewing Luna Llena I see the song. There is a rhythm in the background, but of orchestral proportions. The soloist, maybe your songbird, flies above this contemplative child whose back appears to be at the statue. There is a resonating play with past and present here. Maybe even the possibility of future?
Do you see these moments in time connected in the work as you make them? When they are done? How do they enter your practice? Because what I am portraying is the possibility within the relationship they could have in the future. To a certain extent, the relationships evolve. When the pieces are done, I look back at the singular moments of the past while I was making them.
I reflect on the movements and decisions that I made along the way, to portray the symphony that was playing in my mind at the time. In speaking about the future, I think of it more as a reality that we are experiencing. In a few words: the past and the future have been playing along with the delicate tones of life itself.
We work on concepts and with materials, we exhaust them, forget them, come back to them. What recurring activity do you maintain throughout your practice? What is the tried and true activity that you can always rely on? It should be sensual.
These are things that will always escape the concept. It is still now. Painting involves so much — color, form, layer, etc. And in doing this, I focus more on composition rather than the feelings I might get from the subject.
Another way I see the world is with logic and not with emotions. I try really hard to find things that are interesting rather than beautiful. It can be hard knowing how to slow down, especially for the younger artists who have grown up in a world of instant gratification and constant attention.
How do you attempt to confront this in your practice — knowing that people are easily distracted? How do you help students and younger artists learn to slow the world around them?
Or its ability to give us different meanings, that we do not see right away. Knowing these, I can make the imagery show me and you the real truth. One of the key things I teach my students is in seeing things the way they are, and why they are built the way they are built.
For example, I teach my students not to see buildings, but to see them as shapes, to see abstract objects such as a pile of clothes becoming forms.
In doing this, I help my students to deconstruct what they are really seeing, and why. I think this is a helpful way to gain a deeper understanding of how something might be used as opposed to how it is used. We hope you have found all the information you need about Alfonso Fernandez Artist Biography through the links above. Artist Vs Poet Runaway Tabs.
Aj Picard Artist. Axel Goldammer Artist. Artist Phone Wallpapers. Artist Run Centre Montreal. Awakening Artistry. Are Most Artists Mentally Ill.
Artist W J Hodgson. Artisteer Module In Header. April Willy Artist. Artistic Gallery Nude Photography.
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