I would essentially destroy or obliterate myself in the attempt to match myself to a certain image. And it always involved a tremendous loss- those works are all really tragic because they illuminate what happens when you are willing to abandon everything else in favor of the image.
In general I’m interested in taking content that was meant to document something historical and re-cropping or framing it in a way that is more aesthetic and less documentary, to undercut some of that “authority.”
I wanted his works to take the foreground but found myself having to create a few visual motifs for some of the music compositions so I tried to make visuals that are more abstract and open-ended that wouldn’t take the viewer’s focus off the music but might give them some subtext for the composition.
I wanted to narrow down my ideas and push my patterns and lines to a minimal state while focusing on more movement within a still life. I continue to build on these ideas and I feel that my work is constantly evolving because I am constantly exploring.
The film balances Calatrava as artist, architect, and engineer. But, most importantly, asks more questions than leaves answers. Is enigma a part of the art? Must we inhabit something in order to create it? What is it to find our own language, independent from schools or tendencies?
I like all my work to feel as personal as possible.
The energetic portraits that I create are inspired by the person, their energy, sound, their movements, how the blood flows in their face.
...ultimately I want to make random New Yorkers stop for a second and feel something.
“It reduces stress! Increases your metabolism! Detoxifies the body! Strengthens your immune system!” That alone was sort of interesting to me. Can it also ward off evil spirits? Prevent clumsiness? Make me appreciate jazz?