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Leroy Miranda Jr

United States

Painting, Digital on Marble

Size: 22 W x 30 H x 0.1 D in

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About The Artwork

SONNET XXIV Mine eye hath play'd the painter and hath stell'd Thy beauty's form in table of my heart; My body is the frame wherein 'tis held, And perspective it is the painter's art. For through the painter must you see his skill, 5 To find where your true image pictured lies; Which in my bosom's shop is hanging still, That hath his windows glazed with thine eyes. Now see what good turns eyes for eyes have done: Mine eyes have drawn thy shape, and thine for me 10 Are windows to my breast, where-through the sun Delights to peep, to gaze therein on thee; Yet eyes this cunning want to grace their art; They draw but what they see, know not the heart. shakespeare

Details & Dimensions

Painting:Digital on Marble

Original:One-of-a-kind Artwork

Size:22 W x 30 H x 0.1 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Leroy Miranda Jr. – Artist Statement ​www.lhmiranda.com I approach my work with spontaneity, quickness, and—when I chance upon it—wit. The emotion or atmosphere of the day influences the work, and I consider the images that result a story of myself. Am I telling the same story over and over? Am I telling new stories? I have not figured it out exactly. What I know, for now, is that the works are both simply and not so simply works of myself, meaningless and meaningful as any emotion can be when rendered as an image. My process often begins with some familiar image, with a way for me to warm up to the page. I find myself coming back again and again to the image of a shrimp, in part because the image bears sentiment, a “meaning” that has lingered. However, if pressed to express that meaning in words—or even the meaning’s origin—I could do nothing but point back to the image. The shrimp are a trope, a touchstone, a familiar grip from which my work can expand. And, because my process is often very fast, I am painting my way through a vast number of emotional landscapes. At the end of a day, I can sift through the pile of images, swift as a river, and see what catches my eye. But it is the subconscious mind that is in control; it is the subconscious mind that has recorded and understood everything I have done in my life. Vigilant for a glimpse of meaning, this process of selection is a bit like panning for gold; the process is rote—the constant sifting and sorting through the mud—but I might uncover something that shines. This fluidity, this flow, is essential to my work—and the mediums I choose to employ are derivative of that fluid nature. Paint is one, though there are many others. I can press on charcoal, ink, motor oil, dirt, blood, or urine—anything that will readily flow—and, through experimentation, produce new colors, new images. These mediums help to keep me astray from convention, which is where I’d like to be. When one is astray, he is situated on the outside convention, which allows him to view the inside as well—though, admittedly, from a different perspective. Sometimes I like the view inside and sometimes I like the view outside, but it is when I feel astray that I can allow my attention, my perspective to drift. When I begin a new work, I begin with the medium. Some artists collect images—and I do reference photographs on occasion—though more often than not, I do not know what will emerge.

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