Embedded Files
Curatorial Rationale
Throughout the selection of my exhibition, I focused on negatively driven artworks in which I question the boundaries of paintings by making them three-dimensional. The placement of the artworks encourages the audience to experience the emotions being portrayed as the audience literally navigates through the strings that physically connect the artworks. Each piece of string is attached from the artwork Breathtaking to the walls, which leads the audience to the next artwork. Additionally, this compels the audience to go on a journey through my exhibition in which the physical interaction with the artworks invokes a sense of understanding and acceptance. Void, Into the Shadows, Façade, and Bittersweet all contain intense three-dimensional textures that exaggerate the emotional state of each artwork. The textures expand outside the flat surface, and into the space shared by the audience.
Inspired by Henrique Oliveira’s placement of Xilonoma Chamusquius, I created a large scale installation, Breathtaking. The composition of Breathtaking directs the audience through my exhibition, making Breathtaking the main artwork and the catalyst to the emotions created by my exhibition. For this reason, Breathtaking is placed in the center of all the other artworks. Breathtaking revolves around feeling trapped as if there is no escape. The illusion is created by large-scale artwork about the same height as me. Though time the taller the artwork and myself became, the more the emotions were being suppressed. The artwork in itself is fragile because it is no longer able to contain the bottled up emotions. Breathtaking symbolizes my emotional growth; as I grew, so did my emotions until they could no longer be suppressed.
Following the string from Breathtaking, the viewer is directed to Always Watching, which introduces fear and paranoia. The artwork is made by a compilation of faces where their eyes are the most prominent feature. The faces used are distorted by crumpling the image to create a coarse texture as it makes the artwork disturbing to experience for a long period of time. The plethora of faces no longer look pleasing but rather creepy; provoked by the protruding texture of the images, this increases the viewer’s anxiety as the need to escape becomes more prominent. Because the exhibition is in a closed space, the viewer must move on to the next artwork.
Furthermore, Breathtaking directs the audience to Bittersweet, inspired by Imran Qureshi. Similar to Qureshi’s use of juxtaposition, I juxtapose femininity and disgust. The size of the artwork and the pink created by the Koolaid symbolize femininity and beauty. The Koolaid is a reminder of the naive nature of a child. Combined, the Koolaid and the color pink represent the child’s misinterpretation of what a female role model should be. As the audience gets closer to the artwork, there is a change of beauty to disgust created by the hair in the painting and the rough bumpy texture. The naive perception of femininity is now tainted by disgust. The walls surrounding my exhibition then traps the audience and forces them to experience that emotion. They can not avoid the disgust they feel and instead have to learn to live with it.
Lastly, the viewer encounters Void. The use of all black paint and paper expanding from the canvas indicates to the audience that another emotion is trying to escape. Void evokes fear as the rough texture from the paper expands outside the canvas illustrating the need to consume another person with emotions. No longer being able to endure the emotions alone, the artwork encourages others to carry the emotion too. Void concludes the exhibition as the texture and media remind the audience of Into the Shadows, to imply that the journey is over and they now carry the burden too.
Each artwork was chosen for this exhibition because of the incorporation of non-traditional materials into the artworks which lend themselves to bring an emotional state into the physical world. Through the materials, I challenge the lines between painting and sculpture. I used materials that reflect my experiences, such as knitting string and kool-aid, as reminders of my past. The material creates a pathway and journey for the audience as they experience similar things, as I did through my own journey.
Breathtaking
Breathtaking
Knitting string, wire, flower pot holders, black and silver spray paint
approximately 2x6 feet
This artwork encourages feelings of confusion, frustration, fear, suffocation as well as feeling lost and helpless. When passing through the sculpture the audience visualizes how they would feel being tangled in this mess while literally navigating the maze of strings. The string encourages the audience to interact with the artwork and experience the bottled up emotions unable to be contained. The dark colors and lack of light contribute to the negative mindset as the audience feels trapped.
Not Available
Comfort
Comfort
Knitting string and acrylic paint on canvas
45.7 by 61 cm
The smooth application of the paint and earthy tones used evoke feelings of warmth and comfort. However, the warmth and peace has been disturbed as the paint has been slightly scraped off. The string tries to keep the warmth and comfort in place. The straight lines of string are used to show stability as the string tries to hold on to something before they both crumble. The warmth is sensitive and by trying to form stability, the string damages the positive emotions.
Available, minimum bid $10
Comfort
Comfort
view 1
Comfort
Comfort
view 2
Into the Shadows
Into the Shadows
Acrylic paint and paper towels on canvas
45.7 by 61 cm
Using black acrylic paint I portray a person walking into the darkness while an upside down shadow follows. The Person represents ignorance as they ignore the warning signs and choose to walk into the darkness. The rough texture illustrates the harsh obstacles the person is about to face. The Person is a representation of the audience as well as a general human desire to maintain ignorance. The shadow symbolizes that The Person is not the only one that has been through this journey.
Available, minimum bid $10
Into the Shadows
Into the Shadows
view 1
Into the Shadows
Into the Shadows
view 2
Illusion
Illusion
Acrylic paint on canvas
40.6 by 50.8 cm
The expanding lines and color contrast form an illusion as the viewer cannot identify a focus on the artwork. Maintaining sight on the artwork for a long period of time can be discomforting. The sharp rough texture and direction of the lines symbolize an explosion. Different tones of purple are used to combine the calmness of blue colors versus the fiery energy from the color red. The blue and red combined formed purple to demonstrate a battle between both emotions resulting in an explosion.
Not Available
Illusion
Illusion
view 1
Illusion
Illusion
view 2
Bittersweet
Bittersweet
Kool-aid, acrylic paint, and hair on white cartridge paper
19.1 by 27.9 cm
The light pink of the Kool-aid and paint used are meant to lure the audience. The use of Kool-aid mixed with paint and hair demonstrates self-deception. The Kool-aid is used to symbolise childhood and naivety, a time where things are simpler. The closer someone gets to the artwork the more uncomfortable and disgusted they feel. The disgust created symbolizes self-deception as we chose not to see the ugly things in life. Just like reality, once we see the truth in the painting we can’t unsee it.
Not Available
Bittersweet
Bittersweet
view 1
Bittersweet
Bittersweet
view 2
Always Watching
Always Watching
Magazine Images: Modern Luxury CS, Chicago, and acrylic paint on canvas
40.6 by 50.8 cm
The composition is based on images of people in magazines to evoke fear in the audience. The cluster of faces, mostly eyes, and mouths, portray an uncomfortable feeling as if you are being watched. The white makes the faces blend in together rather than stand out. This contributes to the paranoia of the viewer and represents a fear that everything you do is not good enough. The fear and paranoia represent anxiety that even when you are alone you feel like you are still being watched.
Not Available
Always Watching
Always Watching
view 1
Always Watching
Always Watching
view 2
Consumed by Anger
Consumed by Anger
Acrylic paint, spray glue, Maseca (flour) on canvas
91.4 by 122 cm
The use of Maseca is a reminder of the happy memories I had with my family. Orange is a mixture of red and yellow and is used to demonstrate joyous memories being tainted by anger. The chunks of Maseca portray the happy memories crumbling. The scrapes in the canvas where the light orange is more prominent to illustrate the desperation to go back to how things were. The large canvas singles out anger as it consumes every emotion and makes people lose their way. Unable to find a positive outcome.
Not Available
Consumed by Anger
Consumed by Anger
view 1
Consumed by Anger
Consumed by Anger
view 2
Façade
Façade
Plastic wrap and acrylic paint on canvas
40.6 by 50.8 cm
I overlapped acrylic paint to demonstrate that somethings can’t be covered up. The vibrant tones of blue and yellow demonstrate fake emotions such as enthusiasm we try to portray. Using the texture from the clear plastic wrap, I demonstrate the failed cover up of a fake appearance. The texture created by the plastic wrap contradicts the colors. The crumpled and wrinkled plastic is worn out to demonstrate how tiring it can be to pretend to be something you are not.
Not Available
Façade
Façade
view 1
Façade
Façade
view 2
Void
Void
Black acrylic paint and white printing paper on canvas
45.7 by 61 cm
This painting is made to mimic a relief sculpture to represent emotions trapped that want to escape. The paper becomes part of the artwork as it pushes against the canvas to stand out and become noticed. The space between the rough and smooth textures adds depth and contributes to the need to escape. The rough texture, created by the paper, draws the audience in to want to touch the artwork. The audience becomes consumed by the artwork just like the emotions that are already trapped there.
Available, minimum bid $10
Void
Void
view 1
Void
Void
view 2
Contact the artist at jasminpadilla6@gmail.com
Page updated
Report abuse