Onix Xadiel Mejias-Rodriguez: Objects in Mirror
Artist Statement: "Objects in Mirror is a collection of material portraits ranging in mediums from acrylic and oil, to marker ink and colored pencil. The work presented began after shifts in living and studio spaces that prompted the need to concise and economize my art work. The images depict abstracted objects throughout my San Antonio apartment and serve as planes of existence for displaced forms. I questioned the validity of both objects I have and mediums I used. Thus, challenging my practice as either a 鈥渄rawerly painter鈥 or 鈥減ainterly drawer鈥 to create works that are questionably finished, reworked, and playful in nature.
The origin of the forms range from bookends, glass vases, decorative stones and even electrical objects. I explored how the forms were abstracted. Some were silhouetted or outlined and others reduced to marks that take up the space or volume within. I then work around or within the objects to give them their space. There was a drive to give or maintain the reality of the items, even within an invented environment, through shadow, perspective, overlapping and gravity. Many of the images have one or multiple of these elements that tether them to a relatable plane.
When it came to painting, I had a vocabulary of forms and shapes and used the drawings as references. Painting was a natural progression of my direction, and as the images translated into the fluid medium, I retained 鈥渄rawerly" qualities. Now, my preffered method of working conisted of two methods."
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Artist Statement: "Objects in Mirror is a collection of material portraits ranging in mediums from acrylic and oil, to marker ink and colored pencil. The work presented began after shifts in living and studio spaces that prompted the need to concise and economize my art work. The images depict abstracted objects throughout my San Antonio apartment and serve as planes of existence for displaced forms. I questioned the validity of both objects I have and mediums I used. Thus, challenging my practice as either a 鈥渄rawerly painter鈥 or 鈥減ainterly drawer鈥 to create works that are questionably finished, reworked, and playful in nature.
The origin of the forms range from bookends, glass vases, decorative stones and even electrical objects. I explored how the forms were abstracted. Some were silhouetted or outlined and others reduced to marks that take up the space or volume within. I then work around or within the objects to give them their space. There was a drive to give or maintain the reality of the items, even within an invented environment, through shadow, perspective, overlapping and gravity. Many of the images have one or multiple of these elements that tether them to a relatable plane.
When it came to painting, I had a vocabulary of forms and shapes and used the drawings as references. Painting was a natural progression of my direction, and as the images translated into the fluid medium, I retained 鈥渄rawerly" qualities. Now, my preffered method of working conisted of two methods."
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