Lucin

Calm Blue

Calm Blue is an experiment to abandon details. The brain captures fragments of ideas turned into images. So, in deciphering this, it came in a serene blue. Simplicity at its best, the calm Blue is a vast area in rest. Composition is circular and centers in the middle, where everything evolves and ends from experimenting with different techniques to making mistakes; it evolved into a new order. Although it is watercolor media, it Is painted directly from the tubes like acrylic paint. The difference is the opacity underneath the other layer. Not just blues but different blues create a rich depth concept. Many factors make the painting Calm Blue; it recalls that a storm just passed. The turmoil is over and calm as if nothing ever happened. The second is the influence of modern Japanese artists experiencing monotone subjects enlarged and minimized in hues of white and blue. Going back to this subject, calm blue recalls a passive ocean. The debate that nothing comes from nothing is actual. What changes are self-perspective and expression of the events? Where the idea is coming from and goes is meaningful. The Calm Blue relates to the process of living life. Learning to keep calm is not easy. When the storm passed by, it cut electric cables, electrocuted trees, and damaged homes. However, that moment of adversity taught us to find a way to keep calm and safe. Sometimes, life should not be so complicated out there, and we cannot help it because it is not up to us. In short, there is a dark shadow adverting trouble, but as it is, the highlight bubbles divert the problem in the center to a calm blue.

CALM BLUE

“Calm Blue” 36″ x 28″ Oil on Canvas 2024

Tags Patterns in Art

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The Trap II

The Trap II is an image of life experiences, a time of discovery. Although, at times, painful, it reflects a good time now. Out of bad situations, good comes out. In the trap, the bamboo wall separates two individuals by their emotions. The end of innocence is a distinct separation. Our instincts prove that our mind advises us that it is time to leave. Easy to say, difficult to move on. Adversity turns us into our worst enemy. It glooms over us and makes us feel like we are moving nowhere. But as years pass, we heal emotionally firmly, embracing our reality. Going back to those times is rewarding. Our souls become a shield where nothing is left of that fragile person we were.

The Trap II was born in a week of spontaneity in Florida. The bamboo wall, with its myriads of gray and blue tonalities, emerged without the need for intricate details, a testament to its creation’s raw, unfiltered nature.
Moreover, there was a palpable sense of freedom in the air, a feeling that I was charting my own course. This independence did not hinder me from bringing this subject to life.
As intricate as the pebbles on the ground may appear, I meticulously crafted them in three distinct tones: the top, a light brown; the front, a blend of brown and blue, where a reflective light dances; a shadow, of deep, grounding brown. Shapes evoke a sense of movement.
The place is in Ecuador, where I grew up, and I go there every summertime vacation. It is close to the Ocean, not exactly a place where you can swim. In short, is suitable for enjoying.

“The Trap II” Size 50″ x 35″ Oil on Canvas 1987

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Still Life

Still, Life is dead nature, which is opposed to being alive. My interpretation brings dynamics into it. I love using watercolor because of its loose quality and flow. I encourage you to experiment with it whether you are an art student, amateur professional, or apprentice. It is a friendly media that is neat and easy to clean. I learned the basics of still Life in my early education, and now it is fun to bend its rules. Still, Life is considered by critics and intellectuals as a medium to learn, sketch, and develop a new idea. It was not necessary in the past, but never disregarded the beauty of its pigments and who does it. Artists such as Caravaggio created many of the most interesting Still-life masterpieces. From its simplicity of shapes, Matisse took it to a design level. Sargent gave a dazzling and fresh look to his images.
My Still Life blends patterns, filling the forms to create eye movement, moreover, with meaning towards environmental art. The composition elements travel all over in unison. Within, the geometric shapes interlace from circles to triangles in harmony. Pure improvisation comes with the academic theory. In breaking the concepts,” Parallelism” echoes the outline. The shadow suggests a ground where the whole weight rests. The blue disappears above, suggesting high above the sky. Although implied forms are stiff, I managed to articulate them. These are like fish shapes, from the bending brackets to half lines on the bottom. On the other side, I grabbed the dark and light tones to create continuity. As I mentioned before, creating a reality was not my goal. This Still Life is about its symbols reaching up to the sky as fruitful and rejoicing without doubts.

STILL LIFE

“Still Life” Size 24″ x 18″ Watercolor Medium 2024