Abscissa of Geometric Precision

 

 

Who are you and what do you do?

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I am an acrylic painter working in 3 styles: Architectural Abstraction, Political Pop and Metal Mayhem. In my current show “Abscissa of Geometric Precision”, I am focusing on the Architectural Abstraction style centered around parallel lines and 30/60/90 degree angles.

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What is this bizarre title about.. “Abscissa of Geometric Precision”?

I thought the concept of an Abscissa in advanced geometry was a great definition of what I was trying to achieve artistically in a brief word. Abscissa is simply the perpendicular (90 degree angle) distance from a point from the vertical axis. It was first used in 1220 by Fibonacci.

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Didn’t Fibonacci have a ratio of some sort used in art?

Yes, this is a sequence of numbers that add the last two numbers to get the next one. Basically, 1, 1, 2, 3, 5, 8, etc. Artists used this in squares, which leads to the Fibonnaci spiral.   These numbers were the basis to the Renaissance.

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Do you use the Fibonacci numbers in your works?

No. I did though have a long career in Finance crunching large quantity of numbers and its effect on the mind. After awhile, many people in the field see “lucky” numbers with the random occurance of some sets of numbers.  Some nations have particular lucky numbers: in China its 4 and 8, in the West its 7, in India the number should end on a 1, say 11, 121, etc. One of my political pop paintings 303 Signatures uses the 0, 8 “lucky” numbers in China to show misfortune in the 2008 earthqaukes, where 5000 children died in shoddy constructed school buildings.

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Why do you have splashes and drips in your work?

I like to break the perfection of the piece and it’s a device I grabbed from the artist Kofie. For the drips, I feel like that is the sadness of life and tragedy we all live through.

Are there inspirational artists that impacted you for this style?

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Tom Thomas

My art professor, Tom Thomas, did his abstracts in class so I could learn a cutting edge version of art with tape in oil. Once I started my own style I immediately went to angles and contrasts in oil. Over time, I drifted away from oil as it is too slow in the drying process and you can achieve very similar effects in acrylic, but only wait 15 minutes for each layer to dry vs. 1 week with oil.

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Augustine Kofie

Another artist that changed my free flow tape abstracts was Kofie Augustine. In his works, he has 3D atmospheres in the work along with parallel lines with this spray of paint on corners. In my work, I changed to a fixed angle look, so all the lines are parallel are in a fixed relation. Initially, I used some of the rounded edges of Kofie, but really didn’t feel it was my style and went to pure hard-edge angles. Additionally, I used a much more exaggerated spray of paint to increase the drama in my pieces. Additionally, I love the use of some primary colors and boldness in my work.

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Prabin Badhia

I paint regularly with Prabin Badhia at 4th Street and picked up his focus on piece by piece works and use of painterly effects in the work vs. perfect smooth surfaces. I love the drama between paint strokes and harsh lines. I like the feel of how the image changes from 20-30 feet to 10 feet to right up close.

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Where do you see this style evolving to?

Hard to say at this point. I feel I have almost reached the conclusion of the current tenets I use in this style without expanding the rules, colors or some other element in this style.

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How do you define the space while painting?

If you look at my work, especially this style, you will see every inch used up to the far corners. My work seems to be a close up of the actual larger painting. I feel that having a lot of negative space is a waste. I understand the use of negative space to define the focal point, but my work has competing focal points. The paintings are at war with themselves. Additionally, I like to play with the layers between colors and how they redefine the space itself. Sometimes the relationships are obvious and then there are subtle continual line relationships that you may see only close up.

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What do you think of abstract vs. realism?

I like to play in both worlds. I think many artists are overly dependent on the iPad as a crutch. Some artists premix all the colors in oil, then grid out a landscape or whatever subject they are working on and literally fill in the colors. They get a great impact, but I really like to play with the colors as they layer over one another.

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As far as realism, there is definitely room to play in, but many artists get stuck in copying fruit, landscapes, portraits, pets, etc. I really wouldn’t consider this cutting edge, but definitely a great craft. The great realists already did most topics; the artist really needs to break new ground, realism or abstract. You can say the same thing on abstraction. You’ll see an artist copy another previous style and produce that. It again gets back to producing a kind of commercial copy art, but I would call it more decorative art. Of course, you have to make a living, so if you can make money in this game, then more power to you.

How do you relate to other geometric painters like Malevich or Piet Mondrian?

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Kazimir Malevich

Malevich did the famous square paintings set in the corners of room hung unorthodox during the early Soviet propaganda painting years before Stalin purged Suprematism to bland Socialist Realism, which Picasso painted as a stooge of the USSR and North Korea, some of the fiercest and cruelest dictators man has known. I liked Malevich’s first take, but he got stuck in the square format. He actually was banned to paint in the USSR later in his life. So it is unknown what could have been without stifling dictatorship dictating what is and is not art.

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Piet Mondrian

Mondrian was amazing in that he lived through the evolution of Impressionism and living in it and then breaking radically into squares, lines and primary colors we know now. He did get stuck in this last style and never veered from it. I believe an artist dies if he adheres too long to one style. This was one of the reasons Picasso art became so valuable later was his vast versatility to always deviate from previous styles to new ones. Of course, his later works became quite stale in my opinion of over repeating sameness.

Where can I buy the work?

You can check online the works in the show here.

Architectural Abstraction: What is it?

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Valentine’s Day Massacre – 44×66 inches

When did you veer into this geometrical style?

Actually, this style is a rebirth of my original geometric abstract style that had no name nor limitations.  In this style, I am limiting myself to only geometric shapes on the 30, 60 and 90 degree angle with a limited palette.  In the title above, I have taken the style to super size it with dramatic effect, from a white center to pinks to reds to browns to black.  This is a change from earlier works where there is no focal point in the painting.

What other work led up to this style?

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Implosion in the Capital – 44×66 inches

One earlier work was “Implosion in the Capital”. This was my very first large version of this Architectural Abstraction.  In this painting, the angles feel more like they are fighting each other over the direction of the painting.  The viewer is drawn along the painting up hills and down steep drops throughout.

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Battle of Boyne – 32×45 inches

In my painting “Battle of Boyne” there is a huge complexity to the painting with multiple angles and directions at once without the exact focal point known. This is typical of my earlier work where there is generally no focus, while the shapes fight amongst themselves for primacy.

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Tribute of Two Trout 1 of 4 – 8×8 inches

In “Tribute of Two Trout 1/4”, I have a reduced size of only 8×8 and a few colors.  This style has more line work since it is more doable at this level.  Once you scale up to a certain size you transition to larger line to keep the dramatic effect.  Again, you can see a series of triangles at war in the middle of who will dominate.

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TNT… I’m dynomite! – 24×48 inches

In this earlier version “TNT… I’m dynomite!”, I have yet to clarify that there needs to be an orderly process.  It has the essence of a raw explosion in geometric language.  The title refers to Nobel deciding to create the Nobel Peace Prize after being called the Merchant of Death for creating dynomite.  This work captures the time when the explosion nature of dynomite was turned into a profit and then later into a weapon of peace.

Did you have any other artist influence you in this style?

Yes, I went to see a show at the Whitewalls Gallery in San Francisco and saw the work of Augustine Kofie.  He came up via classic graffiti writing as a teen and later evolved to geometric shapes in his graffiti before moving to complete abstraction in fine art versions. Below you have a sample of his work “Amiguous Reform no. 2” at a large 122×122 inches.

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Ambiguous Reform no 2 – Augustine Kofie – 122×122

Originally, I started to incorporate similar circles into my work, but have not yet perfected the quality at the same level.  His unusual feel of perspective is very attractive in his work.  His colors are very subtle and have an instant chill feel to his work.  Once I saw his show, I tried to install much more discipline into my own work as well as using a similar splatter effect.  Although many artists, especially graffiti-based artists have this splatter technique.  Hopefully, I will get to his quality soon.

Another artist that had a huge impact on learning how to use tape in painting at all was Tom Thomas, my late art professor at Indiana University East.  Unfortunately, most of his work was out in the market before digital photos, so they are hard to find out there.

 

Are any works available? 

 

Check my shop at www.shawnshawn.co

 

Do you have a monthly newsletter?

 

Yes. I send about every 4-6 weeks at http://shawnshawn.co/Site/Contact

Interview of LA Art Crasher Artist – ShawNshawN

Credit: http://www.shawnshawn.co/

Credit: ShawNshawN.co

The artistic journey of artist ShawNShawN is one that has been molded by travel, culture and class systems. “My journey started with traveling at a young age. We moved from city to city, state to state and finally country to country. Traveling all over Europe and the US leaves a mark of a self-made gypsy, always moving and reacting to the local scenes I find myself in, recreating my self to various classes, cultures and states. In high school I lived in some dangerous neighborhoods that led to a cynicism of police and justice as I witnessed rich neighborhoods constantly cared for while in poorer neighborhoods the citizens were the enemy similar to what is happening right now in Fergusen, Missouri.”

Credit: http://www.shawnshawn.co/

Credit: ShawNshawN.co

ShawN’s adventures read like a history book. From the 92′ riots in LA to the fall of the Berlin Wall, he has witnessed history unfold before his very eyes. “While living in Poland I was exposed to the fall of the Berlin Wall, leaving its mark on the evil of dictatorship over the citizenry, police states and the fallacy of big government gone astray on a large scale: food shortages, currency boom and busts, scams, constant burglaries and state corruption. Later, I lived in Spain, which had survived 50 years of Fascism thanks to the Allies deciding not to overthrow Franco after beating Mussolini and Hitler. Spaniards were in the moment celebrating the first decade of freedom after lifetime of dictatorship. I witnessed students block 5 lanes of traffic to petition the government to change school policy and other riots. I actively participated in the National Strike, where everyone literally closed shop and demonstrated before police in full riot gear.”

Credit: http://www.shawnshawn.co/

Credit:  ShawNshawN.co

ShawnShawn watched as Europe rose like phoenix from the ashes, both socially and financially. “Later I lived in Germany in the late 1990s. Here I was witnessing the prolonged techno parties and raves, which got their start after the fall of the Berlin Wall. In Belgium, I studied my MBA in Marketing right as the Euro was being born. Here I learned to study many hours more than in my BA. It truly was grueling work with small pleasures.”

In 2000, ShawN returned to the US and settled in California. “I decided to move to California to ride the Dot Com rush in 2000. Here I saw the collapse of dotcoms over night and the panic of workers as their wealth evaporated overnight. This truly was a place of dreams and broken dreams.”

Credit: http://www.shawnshawn.co/

Credit:  ShawNshawN.co

When ShawNShawN began painting again, he turned to eBay to generate interest and sales. “First I sold on eBay to get started, selling over 35 works online. It was a great experience to get started in the art world once again before moving on to gallery sales.” His work knows no boundaries. He is an experimental artist who has enjoyed working with various styles to grow as an artist. “I first started forming my abstract styles: Free Form and Architectural Abstraction. In free form abstraction, I experimented with metal tools to capture the essence of the paint and pain in the same moment. In Architectural Abstraction, I moved from pure angular work to a very settled systematic angular painting style. From one art show by Augustine Kofie, I was greatly influenced to change from free form angular to my new style Architectural Abstraction based on 30, 90 and 60 degree angles. Along the way, with my background in history and living history, I started my third style: Political Pop. This style takes on large political ideas: freedom, political repression and popular icons from Hollywood and the world in paint. One of my major influences here was Shephard Fairey as well as Mr. Brainwash after seeing “Exit through the Gift Shop”. I look forward to exploring this style as new ideas come to me regularly.”

Credit: http://www.shawnshawn.co/

Credit:  ShawNshawN.co

We were thrilled to not only have ShawNShawN’s work featured in our LA show, but also to have him at the show. He is an artist who puts no barriers between him and his audience. He signed and handed out some of his prints during the show and attendees loved it!

 

Original article: ArtCrasher.com

 

Do you have a monthly newsletter?

Yes. I send about every 4-6 weeks at http://shawnshawn.co/Site/Contact

Interview on Online Art

OA: What is your favourite film of all time?

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SS: One of my favorite films of all time is The Shining by Stanley Kubrick. The original novel was written by Stephen King. What stands out in my mind is the play of isolation, increasing madness and supernatural possession. The little boy, Danny, in the movie has an imaginary friend who acts out the fear of this massive hotel that is possessed and has many mysterious murders over its long history.

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The hotel was built on Indian burial grounds and has the motives throughout the hotel in the carpeting and decor. The scale of the hotel and living there alone is well captured by the scenes of Danny riding his Big Wheel through the corridors of the hotel and the scene of Jack, the husband, throwing a ball against the walls of a massive room as he stirs in boredom and writer’s block.

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Besides the slow build-up in terror, mystery and later horror, Kubrick was able to take a popular novel based on a possessed hotel to a blend of natural break-down of human nature in isolation with the illusion of a possessed hotel, which drives a fine line begging the question: was Jack delusional or possessed by the Shining? Of course, I have painted a work dedicated to The Shining, “Overlook Hotel, Maui”.

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OA: What music are you currently listening to and why?

SS: Right now I generally listen to electronic music streamed on http://www.di.fm. My brother introduced me to the station and I actively use it to paint my work with. I originally got into House dance music in Chicago and later Trance as a bartender in Germany. Another genre of music to paint by is very aggressive rock or death metal even to stir the rawest emotions into the passion of the painting.

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Just the other day I was painting to Tool, which I hadn’t really heard before while painting. In my youth and even now, one of my favorite bands is Nine Inch Nails. I grew up with my mother always crying over lost jobs with her flawed personality driving her failure, so this type of depressing, suicidal music really pierces my soul and allows me to purge those memories. The weird thing is after listening to NIN, I feel happy inside from releasing the inner demons to rage awhile. I think I’ll play some today while I paint.

OA: Which living artists do you most admire and why?

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SS: I would say Shephard Fairey. He took his art to the streets to get the visual feedback of what worked and didn’t in his work. At the same time, he strove to address the littered landscape of advertising: bill boards, subway ads and bus stop ads to subvert them to his OBEY campaign, which exposes the hypocrisy of police chasing down graffiti artists while protecting advertisers to shout their message to the masses endless with corporate money. Another interesting angle was how he repackaged various politicians into new ways to expose or even make fun of the propaganda, which is basically repeated, unchallenged art with message. I do have mixed emotions of using dictators such as Saddam Hussein, Stalin or Lenin in posters with a neutral message. I lived in Communist Poland a year and saw how an autocratic regime tarnishes the masses, belittles opponents and smashes political opposition with jail, prison or even death. I don’t believe these types of leaders should be positioned neutrally. In my work, I actively pursue revolution against these types of regimes like in China and Russia currently.

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OA: Which deceased artist do you most admire and why?

SS: This is a tough choice. So much great art and artists. One that sticks in my mind was Picasso. He evolved over several painting styles: blue period, pink period, cubism and later social realism. This is the essence of an artist, to continually explore and push the limits of art. He even painted a massive painting dedicated to the fascist bombing of Guernica during Spain’s Civil War, which precluded the coming atrocities in WWII. He kept this painting out of Spain until Franco, the dictator, died, which was a very, very long time. In essence, he outlived Franco barely to keep this treasure out of Spain until democracy returned. Of course the reality is Franco would likely have destroyed the work, since he used Nazi airpower to win the Civil War. Like any artist, he was flawed in his relationships and I believe he went astray painting the socialist realism after cubism. This paralleled the art world in closed Communist countries, which I find disturbing with the tinge of the gulag attached to this propaganda style. Another reason to respect Picasso and why he was so famous, he lived in the great art capitals of his day: Paris and later New York City. One of the reasons artists become famous is simply by being where the action is. He showed complete devotion to his talent with all else secondary, he lived for the art world. People reward this.

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OA: Which exhibition that you have visited made the greatest impact on you and why?

SS: Easy. The Guernica. Picasso painted this right after the bombing of civilians in Guernica, the first civilian air raid, capturing the cruelty of modern air warfare in a massive scene all in black and white. It was kept out of Spain until the fall of Franco, which gets to the heart of being Spanish — respect and honor to the end. The painting was right in his maximum successful period of cubism, so is beautiful in this light as well and capturing the horror of war. I have seen it several times while studying art as a student living in Spain. This is the essence of painting, to capture the audience, expose injustice, have an amazing story and even outside story of keeping it out of the country until Franco’s death.

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You can literally feel the arch of the Civil War in this painting and the paintings life outside of Spain as an emigre as well. Art should change the world and in many cases does not, this work did.

OA: What is the question you get asked most frequently about your work and how do you answer it?

SS: Usually it is about the process as I work in three different styles: Free Form Abstract, Architectural Abstraction and Political Pop. One version of my abstract I use pure metal tools on wood panels similar to how Gehard Richter paints his massive abstracts.

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I have a passion of finding where the paint will take me and combine. The second style is Architectural Abstraction. This style developed from my more angular style I first used into a highly structured 30 degree, 60 degree and 90 degree style with various planes of color fighting for dominion in the work.

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My third style is Political Pop, currently my favorite to explain, since each work has a distinct message and story. These works deal with political injustice, crimes against humanity and an artist’s struggle to change the world through art.

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One of my largest works “303 Signatures” deals with the rise of Charter 08 in China and the imprisonment of Liu Xiaobo for merely crafting this declaration of rights. It has all the 17 points of the petition to the government covering political freedom, freedom of expression, religion, etc. all in 76 hanzi, which alludes to 1776, the year of US declaration of independence. Along the frame I have most of the 303 signatures, about 900 hanzi characters. Keep in mind I speak no Mandarin, so this was really challenging work. Now over 13,000 people have signed it and the writer won the Nobel Peace Prize and was rewarded with 11 years in prison. I plan to keep this work out of China until the fall of Communism there.

OA: What / who inspired you to be an artist?

SS: There are many people. My mother took me to several art classes in my youth and was an excellent musician in her own right. In college, I was inspired to be taught under the late Tom Thomas. He would paint his own contemporary art right in class, so we could immediately leap frog to the latest style, which I later did. He organized great art competitions for the students with outside competition, so we learned the world of art very intimately. Additionally, his model would paint in class as well, so we saw her erotic paintings, which was one of the best learning experiences.

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Another inspiration would be Van Gough, since he persevered despite his mental lunacy that drove away his own customers, artist friends and gallerists. This is amazing to have lived so passionately in your art despite really gaining nothing materially. It is also very foolish not to learn how to communicate, but all artists have some flaws, some larger than others.

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OA: Can you tell us about where you make your art and what if any the significance of this location is?

SS: Currently, I paint at 4th Street Fine Art in Berkeley. It is an artist studio/gallery, which is kind of unique as most places are either studios or galleries. The advantage here is the ability to learn other artist styles as well as how to market better as a group. Working in a group is crucial for any artist to be able to stay on top of his field, constantly learning and debating the finer points of art making, selling and marketing. The physical space is pretty amazing with windows on 3 sides, so the natural light really pours in, which is very important to understand the richness of the colors and subtlety between shades. Close by is an Indian burial ground under a parking lot. The original building was occupied by Brennans, a tavern that was started back in 1958. They got moved down the block. So we likely have some ghosts like in the Shining.

OA: What do you like most about being an artist?

SS: One of the great pleasures of being an artist is exploring the world of art, painting and meeting people. In my current location, we regularly get to meet people browsing and explain how a work is developing. It is very exciting to get behind the scenes with clients on the process. Another great characteristic, is you are leaving a legacy. If you get to a certain level of fame in your lifetime, your work will literally live for centuries as your work is talked about and discussed. I believe this is very important to impact your world for as long as possible. What better way to live than enrich your descendants long after you have lived your own life?

OA: What is your greatest achievement as an artist to date?

SS: I believe being part of the Peace Project is my highest achievement for an artist show. This project was based on the wish raise awareness of the ravages of war on civilians and try to make a difference via art charity. One project helped distribute 10,000 crutches to victims of Sierra Leone’s war. As an art event, my work travelled to 8 major US cities: Oakland, Culver City, Chelsea, Dallas, Beverly Hills, Malibu, Santa Ana and Long Beach. Another great project I worked on was Adult Day Services twice for art donations. They serve the Oakland community of elders in their final years. Another great achievement was my invitation to go to the Art Dubai festival, which unfortunately I turned down due to the expense of flying. My first far show was in Miami, which was the most exciting to see my work up in a gallery so far away in Nina Torres Fine Art.

OA: What are your plans for the coming year?

SS: I likely will continue working with the Peace Project, Adult Day Services and other art charities to expand my reach to the community. So far as an artist, I have done a show in LA, which was my first physical onsite tour of my work. That was fairly exciting meeting new clientele in a completely different art market. It definitely opened my eyes up to the possibility. My goal this year is to be in several galleries outside of the San Francisco area. I also want to have some major art sales as well and gain income from it.

Original Article: onlineart.org.uk

 

Do you have a monthly newsletter?

Yes. I send about every 4-6 weeks at http://shawnshawn.co/Site/Contact