Window shopping raises questions about conventionalism. From the male perspective, on the other hand, the female fits the stereotype of being available.
Moreover, the idea is that behavioral and psychological differences between the sexes have biological causes that have remained for a lifetime, and there is no winning or losing in every way.
The glass window projects one’s soul. The other images, such as the signs, are us; the words are our universe. We mirror her actions, fulfilling what we may wish to feel, think, or be adverse to for her when, in reality, it is only an assumption.
Also, window shopping explores the stereotypes from the male and female perspectives—their perspective regarding their assumptions about appearance.
The advertisement is number one on this list. From fashion magazines to home décor magazines, the woman is presented as slim and perfect.
Hence, a man must look sharp and intelligent under any circumstances. But, unfortunately, we live in a society where appearance is too much to put up. There is no right or wrong for not looking suitable to other expectations.
From a technical aspect, layers and tones recreate transparency to create a collage look. The glazing reflects backward letters on most of the model body. Notice once more that she is almost hiding behind these elements. The focal point is on her face, pointing at the sign recalling to open.
Her beauty, in contrast, is intoxicating, and we can not escape it. She is not for sale; she is just attending the store. However, boutiques in Manhattan are energetic and appealing. In the end, they induce you to buy.
In conclusion, assuming ideas creates false findings and can get us in deep trouble. It is better to let the path run its course by observing and being discreet.
“Window Shopping” Size 34″ x 34″ Oil on Canvas 2018
Time in a Scale relates to a good friend and our good time together. We had just graduated from the School of Visual Arts and dreamed of having an exhibit in Soho, the mecca for us. Well, it was not because I never had a series of paintings that could represent me.
I met Carolina at the School of Visual Arts after graduation. She posed for me in a couple of paintings. She sits in the back on this theme, posing in despair; Latin countries were going through a dry time regarding drug lords. And the USA declared them as the first drug smugglers. I recalled her feeling shame from being of Colombian heritage, and I used to tell her not to, but it was in vain.
I meant to pose her as being in a reflective mood. But then, as I added objects around her, the painting came out sad. Moreover, the brown ground feels hostile, and nature reflects the state of danger we treat it. This is a non-living place to be. So then, she added a melancholy state of mind that bounces back and forth with the scale.
I brought her to help me at a gallery in Manhattan, where we were making copies for an Asian artist whose work was sent to the Taipei Museum in Taiwan,
However, she did not like New York’s cold weather and returned to her beloved Florida. Their parents disagreed with me living with her. So, I was the bridge for her to break their rules. In the end, we had a great time. But, then and now, it did change for good. Then, in time, we grow more vital to remember and celebrate it.
Sara, It is the portraiture of a Yemeni model. To begin with, I added patterns around her face, imitating her veil. Also, her symbols share some similarities with ours in their repetitive forms and shapes.
Yemen’s culture is of Arab heritage, divided between Sunni Muslims of the Sahafi school and Shi’a Muslims of the Zaidi school.
There are small groups of Jews, Hindus, and Christians. For example, in 1949 and 1950, about fifty thousand Yemeni Jews left for Israel. In 1998, migration and high infant mortality limited the annual growth rate. The birth rate is high, and almost half the population is under fifteen.
On the other side, in contrast to Sara’s soft features, her character is very straightforward. She grew up in the Bronx. I recalled talking to her about her ethnicity and their arranged alliance. She was so upset and replied, “She will deny it.” Years later, I found her already married, and she told me she was pleased with her new marriage. I was very happy for her.
The creative process came quickly. For I have a sketch of patterns from Celtic, Asian, and Arabic, Sara allowed me to draw her eyes and turn meaningful. I put them together in a simple composition with the entire movement.
Moreover, the colors are an improvisation. It was the end of springtime, and summer was around the corner. So, I decided to use dark blue and turquoise at the bottom. The silver marker creates a fascinating look, just like her wedding motif. Her eyes are of an innocent observing—nothing to hide and fear.
In conclusion, her portraiture is an allegory to her innocence and growth in a different society, which is more relevant than her ethnic country of birth.
“Sara” oil on canvas and mixed media, size 28″ x 38″ 2017
