Tag: Patterns in Art

Oasis enters a realm where the boundaries of storytelling dissolve in perfect harmony. It’s a sanctuary we all yearn for, an escape from life’s frenetic pace.  

 The stately pines personify the delicate dance between masculine and feminine. Alongside, the energies represent the eternal interplay of Yin and Yang in the natural world.

In addition to delving, I journeyed through diverse patterns, drawing inspiration from Native American, Middle Eastern, and European cultures. These designs defy borders, a testament to our interconnectedness with the Earth. Patterns serve as guides, leading on a journey in full detail at every turn. The forms guard realms, from the wonders to the vast cosmic expanse. Thereafter, the life of nature and human creation. Across ancient cultures, burning pine incense purifies the air, dispelling evil spirits and nightmares.

Enigmatic forms emerge, whispering the secrets of longevity and serenity. Also, Trees symbolize partnership, cooperation, and a sense of calm. Though the figures in the artwork may seem separate, their connection lies in the eternal flow of water. The male and female figure signifies change and renewal in the eternal life cycle.

Symbols transcend the mere picture of physicality. In addition, they encompass a state of mind—an oasis that dwells in inner peace and safeguards our sense of security.

In conclusion, this realm, where seasons merge, symbols entwine, and patterns reveal the study path, shows the beauty that lies within, for art, can unveil the profound in the simplest of moments.

OASIS

“Oasis” 60″ x 43″ Oil on Canvas, mix Media 2017

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The idea was born from a trip to Canada in Montreal. At the train station, to visit the dome, there were walls full of mosaic art. It casts an afternoon light on the floor, full of orange, yellow, and green tones. Not from the fluorescent light but the street sidewalk iron bars, which were enchanting. Moreover, the USA flag model came from Jasper Johns, an American painter, sculptor, and printmaking artist. So, transforming images from sources is recharging along with a past.

Furthermore, for this reason, Borders is a political statement with many points to consider for its content. Then, from a technical aspect, it urges the alteration of the color. In either case, the stripes of white and blue changed. In general, the whole image where the flag with patterns rests. Green depicts fertile ground; also, the entire forest means abundance. Underneath the banner in the gold background full of Maya and Aztec symbols rests in ancient history.
In addition, crows are flying into the light, symbolizing the people.
For this reason, unable to cross the wall, some may die of starvation or drowning to find freedom. Thus, not leaving behind the smuggling of drugs in the middle of the needs of the people and the lord drugs creates more problems. Further, then everybody pays for it, and deportation is inevitable.
Moreover, the message is now clear. Borders’ depiction represents the wall between the USA, Latin America, and other settlers. Consequently, it generates more income for impresarios in the labor areas. For others, a thread. In conclusion, the government has never ceased to steal, for their selfishness does not let them see the future of their citizens. In short, some people may meet to face their demise on the road to freedom.

“Borders,” size 42″x 59″ Mix Media on Canvas 2021-23

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BORDERS

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

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SARA