Таш, Су, Кояш (Oil, 2014)
Таш, Су, Кояш (Oil, 2014)
Subaquatic (Oil, 2016)
Subaquatic (Oil, 2016)
Foggy Bridge (Oil, 2014)
Foggy Bridge (Oil, 2014)
Green Apples and Red Flowers (Pastel, 2007)
Green Apples and Red Flowers (Pastel, 2007)
Violin Frame (Charcoal and pastels, 2007)
Violin Frame (Charcoal and pastels, 2007)
Spiral Scallop Vase (3D printed in PLA, 2012)
Spiral Scallop Vase (3D printed in PLA, 2012)
Three Little Birds (Cross-stitch embroidery, 2010)
Three Little Birds (Cross-stitch embroidery, 2010)
Silver Moon (Sterling silver, 2007)
Silver Moon (Sterling silver, 2007)
Blue Pendant (Glass, 2007)
Blue Pendant (Glass, 2007)
Piano Recital (2007)
Piano Recital (2007)
Belly Dance (2009)
Belly Dance (2009)
Waltz (2005)
Waltz (2005)
Samba (2004)
Samba (2004)
Cha Cha Cha (2004)
Cha Cha Cha (2004)
Foxtrot (2005)
Foxtrot (2005)
Belly Dance
Belly Dance
Rhumba (2002)
Rhumba (2002)
Jive (2000)
Jive (2000)
Cha Cha Cha (2001)
Cha Cha Cha (2001)
Tango (2001)
Tango (2001)
Waltz (1996)
Waltz (1996)
Таш, Су, Кояш (Oil, 2014)
Таш, Су, Кояш (Oil, 2014)I have always been fascinated by an atmospheric optics effect known as crepuscular rays, also known as volumetric rays, rays of sunlight that pour out of the lacerated clouds. I have many memories of crepuscular rays from growing up, so I decided to explore ways to reproduce the almost magical effect through oil paints.I have found several amazing photographs of crepuscular rays and decided to recreate the experience by using the works as reference. I also wanted to explore how light interacts with rocks, so I bought a few pieces of anthracite to use as inspiration.When making a choice for the painting size, I decided to go big: I really enjoy painting standing, as it increases my mobility and allows me to use brush strokes to add light, texture and movement.This was also the time I decided to explore working on multiple canvases. For a lot of works I've seen and analyzed, the motivations for doing multi-panel work seemed to be sales-driven -- the panels lacked cohesion. So I started talking to artists and art dealers to understand other motivations. I came across a few works in which making multi-panel work seemed quite fitting, and also liked that not all panels were of the same size. So in order to understand this better and because I've never done this before, I decided to explore through my own work. This is how I settled on doing a tryptich.I imagined having sharp contrast between darkness and light, so the canvases were primed with black gesso to give more depth to the cold tones and make warm tones more luminescent.
Subaquatic (Oil, 2016)
Subaquatic (Oil, 2016)This work continues to explore how rays of light define and influence the composition, this time in an underwater seascape. The painting was based on several photographs of underwater caves and my memories of doing scuba diving in tropical waters.The painting is the largest I have made so far: 2'x2'. To give the texture of underwater rock formations, I applied several layers of paint: sculpting to make the texture first, applying values to give the visual clues of depth second. In addition, I used palette knife to give the rock formations in the lower part of the painting stiffness and sharpness of cliffs. The school of fish in the upper part of the canvas are used to provide the sharp contrast between the intricate formations in the top part of the work, the heavy masses of water, and the dark abyss below that extends out of the view, below the underwater cliffs.The glazing technique pulled the whole composition together by normalizing the color values across the various regions of the composition. The mix of turpenoid, linseed oil and varnish when applying rays of light gives the glow its desired softness.
Foggy Bridge (Oil, 2014)
Foggy Bridge (Oil, 2014)I got the inspiration for the painting on my train ride to Boston. The ghostly shapes of buildings and trees were obscured by the thickness of the fog that morning. The train moved too fast for me to snap a picture, but I found reference photographs to help me recreate the image.The intricate details of the bridge are contrasted by the thick, yet airy, material of the gray fog. The prevalent range of grays is interrupted by the prismatic colors of the sky. The dark shape of the umbrella carried by a lonely passer-by walking across the bridge creates the feeling of isolation. The pine trees of the forest in the foreground come out of the canvas giving the painting volume.
Green Apples and Red Flowers (Pastel, 2007)
Green Apples and Red Flowers (Pastel, 2007)This is a still life with green apples, limes, and red flowers made in pastels. The composition is a juxtaposition of objects of complementary colors -- green apples and limes placed on the glass with red fabric underneath, red flowers in a green glass vase.
Violin Frame (Charcoal and pastels, 2007)
Violin Frame (Charcoal and pastels, 2007)For this exercise a 6-feet tall pile of various objects, such as chairs, musical instruments and different decorative objects was put together. I made this abstract drawing by combining several views on the pile from various angles with objects I found most inspiring.
Spiral Scallop Vase (3D printed in PLA, 2012)
Spiral Scallop Vase (3D printed in PLA, 2012)The spiral placement of the scallops create a nice eye movement. The design of the vase was inspired by corals.The vase you see on the image was printed on MakerBot's Replicator 1 in PLA plastic. Click here to navigate to Github to interact with the 3D model.
Three Little Birds (Cross-stitch embroidery, 2010)
Three Little Birds (Cross-stitch embroidery, 2010)This embroidery piece is made in cross-stitch pattern in over 40 colors. It took me several months of work to complete the piece. The schematic of the layout of colors as well as the colored threads were included in the embroidery kit that I purchased.
Silver Moon (Sterling silver, 2007)
Silver Moon (Sterling silver, 2007)This pin made of sterling silver was inspired by the image of the full moon hidden behind the clouds. The metal was annealed to enable altering of its texture. The finely dented texture of the moon and the left cloud was achieved through the use of hammers of various sizes. The larger dents on the cloud give it fluffy look, while the smaller, more frequently occurring dents on the moon represent its craters. Patina was applied to the right cloud and the moon to give them yellowish tone.
Blue Pendant (Glass, 2007)
Blue Pendant (Glass, 2007)I created this glass pendant by fusing the light blue base glass piece with white and maroon top pieces at high temperature in a kiln. Klyr-Fire glue was used to prevent the arrangement of pieces from moving during transport to the kiln.
Piano Recital (2007)
Piano Recital (2007)
Belly Dance (2009)
Belly Dance (2009)
Waltz (2005)
Waltz (2005)
Samba (2004)
Samba (2004)
Cha Cha Cha (2004)
Cha Cha Cha (2004)
Foxtrot (2005)
Foxtrot (2005)
Belly Dance
Belly Dance2006
Rhumba (2002)
Rhumba (2002)
Jive (2000)
Jive (2000)
Cha Cha Cha (2001)
Cha Cha Cha (2001)
Tango (2001)
Tango (2001)
Waltz (1996)
Waltz (1996)
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