Tuesday 11.30.21

I have been actively painting and drawing since the age of 3. My work has been featured in local art shows in Morristown NJ, some of it even winning competitions in their respective categories. In high school I served as the president of my school’s chapter of the art honors society where we completed work for local business, like creating murals and telling stories of our community through art. Since my last serious breath of work experimenting with painting dancers on recyclable materials, I had taken a hiatus to focus on higher education. With the event of COVID and a strong distaste in studying for the MCAT, this renaissance in my work explores a topic dear to my heart; Greek Mythology. My current concentration aims to capture the movement of Greek mythology as portrayed by living statues. Tales of metamorphosis, tales of life and death, messages left to be shared and lessons left to be learned all leave an impression upon the reader. My work renders their existence through my impression of their gravity. Another key in my work has been movement and color evolution, flowing from super exaggerated and saturated pigment to more realistic and controlled. The later theme extends from my previous painting style, showing a continuation in art, a metamorphosis in technique, and a maturation in style. The viewer therefore sees a change occurring within the consistency of the artist, further driving the momentum on the theme of change. I had always wondered what the marble statues thought, what they would look like in the flesh with their dead pane eyes staring through you as they froze in time to tell a story.

This is quite literally my impression of the sisters of fate. Clotho (the spinner) is seen holding the spool of human fate (in green) she is shielding her face almost in sadness for the knowledge she holds, the ultimate fate of life; death. Lachesis (the allotter) is seen measuring the string, she falls in the center pulling the string from its spool, her expression is serious and melancholy as she moves to complete her task. Atropos (the inflexible) is responsible for cutting the string, she is portrayed looking up to her sister Lachesis to find the place on the string where she must cut. In the hands of Atropos are the scissors that she uses to execute the finality of death. The sisters are painted as each wearing a cloth that covers their heads, almost as a marriage shawl. The cloth symbolizes that while they are married to their duty, fate is blind and the irony of the entirety of their existence, the blind are exacting fate, meaning that we cannot see that which we cannot fully explain. The sisters are further found on a rock formation, this bed of rock is actually three different views of the Sfinx in the Bucegi Mountains in Romania which is a nature created rock. When viewed at a certain angle, the Sfinx looks like the side of a face (an homage to the Egyptians), and when viewed from another angle resembles a human skull (an illusion to death at the feet of Clotho). The sisters are in the foreground of a dark crimson sky, this representing the ominous presence of the skies of Tartaros where the Graeae sisters are, this is a play on the common misconception that the Fates are the Graeae (these sisters were daughters of sea deities Phorcys and Ceto and commonly took the form of old hags whom shared one eye and one tooth). The piece is done acrylic on wood.