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
Hey, not the Dali Lama; that caught my attention. It was his shoes. In the winter, New York is too harsh to wear sandals. And does not do much for him. Nepal is far away colder than ours. It is the altitude in addition to it. But just like us, we acclimated to the weather in time.
Furthermore, recalling my time working at Soho. In charge of the New Art Word Center by mistake. I shut off the elevator. Where the real Dalai Lama had to use the staircases coming down. I recalled the gallery owner telling me the old man was too tired. He smiles at me, not knowing who he is. I care less. Years later, the memory persisted, and finding out about his background was like meeting the pope. A spiritual figure of the world. I’m not a devoted person who attends church every Sunday. And I still believe in the people’s good faith and the existence of something bigger than us.
Although the subject is comical, it represents a memory of a precious time when innocence and the search for creativity flourished. I still do; therefore, I felt compelled to recreate this image in a painting.
The symbols are in the persona wearing a tunic from Tibet. The clues are in the details. It is expected to find different characters in this metropolitan area. However, what we may see is fascinating. In the end, we find our memory positively having a retrospection. And that is the beauty of life. Something affects our minds. Thinking in solitude, we suddenly remember a past moment in life.
In conclusion, it was exciting then and has become a meaningful epiphany.
“The Vision” appeals to the psychological relationship between life and death. Moreover, it depicts colorful ghostly figures and bluish-grey death bodies. They are hanging as a reminder of the connection between both worlds. We continue to live as if they did not exist. But many of us who have lost a loved one know that our souls never dissolve into nothingness. On the contrary, our spirits continue to exist.
Symbols on this subject present a narrative story. The first figure in front of us wears an evil mask. The red color is euphoric, temperamental, mad, hungry; you name it. Either is the punisher or the savior. This refers to people who use roundabout words to hurt you later. On the other side, the flag he beholds is waving victory. This translation is about government manipulation and contradictions.
Moreover, The hanged are the victims of their neglected society. On the right side, there is a window with two dark figures. They were gazing at the people in the plaza and perhaps rejoicing in their victory.
I wanted to create a subject between dreams and reality. Therefore, I used blurry colors to depict another dimension. Indeed, we are free spirits, flowing and levitating, searching for an answer. The entrance underneath is the bridge to cross to the other realm. And since our paradox relies upon faith. We know physically that young kids will enter heaven without conditions. But only some of us will get there, following the right path.
Ultimately, the whole scene celebrates the dead as part of our life—the eternity of heaven, which, in the end, culminates in an insatiable encounter between reality and fantasy. And to conclude, in search of a new spiritual well-being feeling.
