Lucin

The Scale

Time in a Scale relates to a place in turmoil and despair. Recalling that the problems are over, and yet the consequences are still evident. But to build a new world will take time. After graduation, there are many opportunities and venues to explore in a big city like New York. Dreaming of having an exhibit in Soho was the mecca and still is for any artist. Well, it wasn’t because I never had a series of paintings that could represent me.

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 ashamed of being part of the country’s problems, and I used to tell her not to, because the first consumers were here, 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 took a somber tone. Moreover, the mood in the scale painting feels hostile, and nature reflects the state of danger we treat it with. This is a non-living place to be. So then, she added a melancholy state of mind that bounces back and forth with her surroundings.

I brought her to help me at a gallery in Manhattan, where we were making copies of an Asian artist’s work that had been 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 that let 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.

The Scale, 24″ X 18″ oil on canvas 2017

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The Scale

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SARA

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.