A play between dry Daily-life and Wet imagination."Daily life" is a phrase worn-out and banal that wears you out with its none-too-subtle hint of tediousness. Work place, school, computers and cell phones; the spaces and objects around us certainly seem rigid and dry when we observe them with a disinterested eye. However, we can sink in to this dry daily life, watering it with our imagination. We do not perceive our ordinary lives with perfect objectiveness (which would be impossible). We endlessly pursue the sphere of imagination while striving through our repetitive daily lives. Thus every moment of our seemingly dull and tedious lives are never repeated or replicated. We live not in the superficial and material world, but a world with imagination, or perhaps in-between of these two spheres. I combine these two worlds in my painting to show the genuinity of everyday life. The daily life that defines what I consist of or what proves who I am. My paintings become a theatrical space where daily life and imagination can coexist. I use photograph-based images when combining these two worlds in my paintings. It is to represent the 'proof of existence' through photographs, which raises tensions between imagination and actual scenes. Moreover it is a solution to create a complete world of my own. Maybe the most important points of my work is severe narcissism and attachment to my life.Sometimes my works are compared to surrealist paintings. They certainly have some similarities with surrealism in its manner of expression. However, surrealism tries to show the unconscious and destroy the value system of the material world, while I want to concentrate on the coexistence and boundary of the two worlds. The unconsciousness of the surrealists clearly has some similarities with imagination, but not without distinct differences. Currently, My paintings right are about my personal daily life. This might seem to some as personal reflections or narcissism at the extreme. However, I believe my daily life can be communicated and empathized with other members of our society who exist in the same time and space. To express the world and its context around me while sharing it with others through my painting is what I hope for, for now. ... https://www.youtube.com/watch?v=ooCTF6Lgnh0
This is a sketch I worked on Friday jun 14. I would love to post these daily vids but I can’t seem to get them out in a consistent time. So I have to work in them ahead of time so when I post it post at similar times.
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https://www.youtube.com/watch?v=EoTmjjqzgJQ
This painting probably depicts a scene outside the grounds of the château de Marcouville, very close to Pontoise. Cézanne's interest in this landscape may be linked to the fact that his friend Camille Pissarro had already painted there five years earlier. However the comparison stops there. The patient search for gentle solutions typical of Pissarro seems far removed from this painting imbued with powerful energy.
Cézanne was interested in the clump of tall trees on the banks of the Viosne. The difficulty was in making this landscape of greenery "readable". To this end, he contrasted the rectilinear aspect of the poplars with the confused mass of the other trees. Between the slanting brushstrokes, characteristic of this period, the white background filters through almost everywhere, bringing luminosity and animation to the surface of the painting.
Clearly Cézanne was seeking to overcome the technical difficulty of representing a view where the only motif was foliage. The difference between this wooded landscape and those of the Barbizon school is significant. Cézanne, like Pissarro, represented trees that had been planted by man rather than those that grew "naturally". He therefore introduced into his paintings signs of human activity organising the landscape, rather than Nature's anarchic growth.
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https://www.youtube.com/watch?v=Vj9sHjK7IVk