Mannequins between green Painting

During this process removable cut and create another proposal that had already been done for 6 years. The first thing that emerged was not so figurative paintings were more abstract with a touch of silhouettes mannequin. Dummies were suggested in a way, although it is recognized that it is the figure of a female mannequin, lines and geometries were flat colors and geometry intervened in the ways of the dummy. The manikin is closer to the patterns used by designers and dressmakers or milliners. The entire composition was spot colors. Also when I mix the organic forms of the dummy with the start geometry to study the dummies that are in the shop windows. I realize that the images of the female figure represented in the dummy highlight the sexual parts of the curves of the dummy imposing an attractive and sensual image. So I include in my paintings dummies with the same characteristics: sharp bends in the waist area of ​​the dummy interposing the asymmetrical I have in the fund to be fully geometric. My works are not accurate of what I see in the windows but much influences the designs used in the same copies. For example, I have observed in my studies decorators use much in the bottom of the windows completely geometric designs, but they do a contrast in putting the female mannequin with lush curves that bring out the sensual woman's body. This union of geometry with curves waists Dummies makes a composition combining organic curves of the dummy with the geometry that is at the bottom. This causes disorientation to the viewer that you do not know background and figure. During this process I begin to study the mannequins so they have more options paint them different. I realized with the observations that the majority of the dummies who were in the windows lacked variety when placing them, mostly had the same equal positions. I also noticed that designers storefronts came to geometric designs in the bottoms of the windows to acclimate the area where the mannequins were. I started looking for information on the showcases and art. I discovered that showcases designers were putting elements of art to decorate the windows. For example, in New York clothing stores they are using works by contemporary artists to decorate the windows with their art. This caught my attention and start using this composition elements in my designs trying to put the mannequin and the background the geometric shapes such as rectangular and square lines sometimes breaking these forms with forms and torso mannequin. Thus, there are organic forms of the dummy suggested in the background. As I mentioned above a voltage of what is background and figure putting compete these forms that sometimes do not know which is more important it was created, if the figure or background, but always figure in some compositions play an important role be the protagonist. I want to clarify that not necessarily paint are showcases, what I do it is take elements of the ways that designers showcases used, short and mixed with the geometry that I used when he painted abstract geometric and mannequins painted before making The geometry. I also include worn by couturiers like scissors, thread with sewing needles and clothespins that are around the dummy and bottom elements. During the history of art, many artists have made the transition from abstraction to figuration and figurative works will have renowned art history. Some of these artists have been my influences as I mentioned in the introduction. My start in the painting is figurative but it is curious that some of the artists who contributed in my early addition of Carlos Raquel Rivera and the Uruguayan artist Ignacio Ituria was the painter of Montreal named Phillip Guston. I identify with Guston because he started in painting as abstract painter opposite of me and then changed to figuration, which gave him recognition in the art world. My beginnings in figurative painting were marked by these two artists: Ignacio Ituria and Phillip Guston but it was something curious that my otherwise Phillip Guston happens I depart from abstraction to figuration was backward step from the figurative to the abstract and then return to the figurative but mixed with the abstract. This also has to do with the influence I had with the Puerto Rican artist Julio Rosado del Valle was constantly in sync with figuration and abstraction that practiced both with a masterful way a great artist he was. As I mentioned one of the things that made me go back to figuration had to do with a new life that began living from 2009. This year I begin my graduate studies and I move to the town of San Germán, this car insidio, as he calls the painter Jayme Carrero, he made me make a retrospection and a search that had been lost for two years. I had to look within myself and change during this process know another artist who influenced me in a positive way. I had the opportunity to study the work of Juan Helion, the artist went through a transition process which joined the abstract with the figurative but in the case of John Helion has something in common with me is that in the case of the coming of abstract painting geometric to figurative painting and not as Phillip Guston began with abstract painting and then went to expressionist figurative painting. 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Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:39 W x 30 H x 39 D in

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