Why Not? Part 3 Print

I use figurative painting to explore the many ideas I get on the daily, trying to see which one of them deserves attention. I test a lot of iterations to see which of my ideas can translate well into paintings. The people in my paintings are very expressive and appear in different instances from mountain or desert landscapes to colorful interiors, surrounded by colorful spheres or walking a zebra. The characters are sometimes historic like Carl Jung and other times they are totally random and the majority of them tends to be old men. I try to use old men in light and ironic scenarios, totally different then how they were represented through in art history, serious and with dark colors. I use intense colors and the result is a saturated image that we can consider to be adapted to our era in which we use screens a lot. All my ideas are firstly tested through AI because of how fast I can test them, sometimes I add art history elements like lone figures from romanticism or the composition from a papal portrait, then I work in Photoshop to adjust everything to the vision I started with. Lastly I get to do a general edit of the colors to create certain emotions or psychological states in the viewer. My intent is to see the viewer intrigued by what is happening, amused or even impressed by all the happenings before his eyes. This, I try to achieve through images that are between real and surreal. We can encounter an old man in a yellow suit in the desert or one dressed in dots and surrounded by colorful spheres, maybe, but it won’t happen, the chances are extremely low. These situations remain in the realm of the real, but we won’t see them happening around us. The vivid colors in the works keep everything fresh, create a lighter mood and allow the viewer to approach more easily and enter into a dialogue with what is happening in the painting.