Wednesday, April 9, 2014

My very first statement, must've been May '08

aiture as my theme, I try to recreate an image of a person (usually based on photographs that I have taken). I try my best to explore and experiment until reaching a suitable technique and medium. 

In the studio I am quite good at learning how to use materials or even inventing techniques to suit the person or picture I have chosen to work from. 

Stepping out of the convention of drawing with charcoal and white chalk was hard – I had a very limited idea of what art is, which limited me in experimentation.

I overcame this weakness when I started to experiment with painting with a glue stick and acrylic paint by swinging the stick. This opened up a state of mind that I have learnt to enable when experimenting. 

Growing up, I was surrounded by my grandfather’s art. He was a portrait artist, which fascinated me as well as limited my concept of art – it became the type of art I am most familiar and confident with. 

Most of my research is done by experimenting with media first, then researching artists who had the same theme, or painted or drew like me, e.g. when doing “Mother” I researched De Kooning’s “Women” and Picasso’s “Bust of a Woman” (metal sculpture in Chicago) in preparation for “Jeff”. 

I experimented with pencil and white chalk for the animation project, with a glue stick and acrylic paint for “Mother”. For “Samae” and “Xavier III” I experimented with oil paint using unnatural colors. With “Yury” I experimented with very thin acrylic paint resulting in drops, and also metals for “Jeff”. For my last pieces “Xavier III” and “Husband” I experimented with dyeing the paper. For the theatre arts play I experimented with a dry brush and poster design.

Thursday, February 6, 2014

Untitled (feb 5, '14)

Xavier Robles de Medina, Untitled, 2014, graphite on paper, 6 x 6 in

Artist statement (feb 6, '14)

I am fundamentally passionate about the organic form, as expressed through smooth surfaces that evoke a plasticity. The organic and lyrical are all around me in the everyday image and object. Sensuous rhythms in hair-product advertisements evoke bold brushstrokes felt as the most personal of marks. Through direct observation of hair-grid collages I create work that extends these images into the realm of touch. A symbiosis between craft and concept informs my approach to materials, by which I combine a rehearsed articulation with an element of the unknown.

Tuesday, January 21, 2014

Thinking about the Fantastic

Xavier Robles de Medina, Untitled 2014, graphite on paper, 6 x 6 in
Xavier Robles de Medina, Untitled 2013, graphite on paper, 6 x 6 in
My initial intention with the conception of these drawings was to engage in a kind of technical value schematic, which would aid in creating the reliefs. In actuality, I do think the drawings posses an incredible potential to discuss concepts that were floating in my head all along, formally the ideas of consonance, lyricism, and rhythm, but also relationships between painting, and photography, and ideas relating to uncanny or the Fantastic. Both David Reed, and Alexander Ross strongly personify this discourse to me, and I am eager to study their use of color, as it relates to these concepts as well.

Friday, December 6, 2013

A Freeze is Coming

A Freeze is Coming, 2013, urethane plastic, 11 x 11 x 2.5 inches

Miami Basel notes

Lucy Skaer; Josephine Meckseper; David Schutter; Michael John Kelly; Georg Baselitz; Jean Arp; Uwe Kowski; Kim Dingle; Michael E Smith; Leo Gabin; Elad Lassry; Elizabeth Peyton; Liat Yossifor; Katharine Grosse; Martin Creed (paintings)