Eccentricity: The Realm Between the Normal and the Crazy

For the past several years I have toyed with utopian/dystopian settings, fictitious characters that is beyond understanding, numerous bold colors, and the manga-inspired aesthetic in my works of art. I never thought of how to describe my creations until people started asking me. What do I say and what do you think (www.julianpena.com)?

This is what I end up scrounging for in my head: “It is neither representational nor abstract nor non-objective…” In an effort to not sound like I don’t know what I’m doing, I push my academic research further. I often spend time reviewing millions of books on color theory, Japanese art history, manga, other artists’ works, and art-related online content. In between full time day job and school, I paint to hone my techniques. Ultimately, I end up with something absolute that is brought to life from my very own mind. It is already understood that I am still an art student trying to make a name for him and discover who I really am as an artist. It isn’t until recently I have discovered a much clearer way to describe my work: eccentric.

Another sold work where I combined landscape and studied where the eye should move along the plane. I added a slight sense of humor with the cranes dancing and flying in the air. Unrealistic rainbows frame Mt. Fuji.

In Japanese art history beyond the 17^th century to today, the art become more commonly “eccentric.” Many of these online sources derive information from literary works of a great art historian by the name of Nobuo Tsuji. He wrote two books: “The Lineage of Eccentricity” and “The Categories of Eccentricity.” This concept of “eccentricity” inspired many artists such as Takashi Murakami (one of my favorite artists). These books described certain artists like Ito Jakuchu, Katsushika Hokusai, and Kano Sensetsu (all of which are very important to Japanese art history). Being classified as “eccentric” basically means to utilize techniques that are not orthodox or “Westernized” (from the Japanese perspective). 

Murakami talks about the presence of a single planarity in his "Superflat" essay and the movement of where the viewer's eyes go.

Here’s what Wikipedia has to say about “eccentricity”

http://en.wikipedia.org/wiki/Eccentricity_%28behavior%29

I’ve never been so confident about my figure drawing skills, yet I am confident with other aspects like color theory and aesthetics/design. Takashi Murakami founded his “Superflat” art movement based off of this information. I am not trying to follow that movement, but instead trying to develop my own by the time I get my Masters in Fine Arts. Though the similarities are present, I plan to survey more connections between Western and Eastern attitudes. So for the next person that asks me what type of art I create, I tell them “eccentric.” In the future I will develop more on this idea and post them along the way. 

People have told me that this reminds them of the Japanese version of Mona Lisa.

From Start to Finish: A Life of a Painting (John the Baptist)

Here is an overview of the start to finish process of painting John the Baptist (Seize the Day). I have submitted this to the Northwest Biennial 2011 (crossing fingers).

After I prep the canvas mounted on hardboard, I sand the surface in several grits and begin drawing the composition.

Pencil drawing, using the original study/sketch as a reference.

Check out my little lamb (symbolizing Jesus...remember my intentions are not to glorify rteligious figures. Just an important reference to art history).

BBAAAAAA!

 Since I'm trying to create a patina look in the background, I paint that first. I block in the appropriate color in 5 layers, waiting to dry in between. I ultimately use 4 colors, 5 layers each.

It takes a lot of elbow grease to practice such technique.

I associate specific colored borders for each color layers, creating a unique line of multiple colors after the sanding has been done.

To get some work out of the way, I block in colors on the bottom since it needed several layers due to the transparency of the pthalo green.

I begin sanding from grit 600, then up. It takes personal experience to know which grit to start from and how long you must sand before each transition. This technique has been inspired to me by Takashi Murakami, who has borrowed this idea from Nihonga (japanese painting) techniques.

Here's what it looks like after I sand through many different layers of color. This is why I love acrylics, so versatile!

Once I have reached the desired effects of the sanding and oscillating hues, I begin painting in the rest of the painting. Keeping in mind of certin transparent pigments, some blocked in colors may take several layers.

I always block in colors first before I add any type of borders.

I love anime art. I try to incorporate that in fine arts.

The completed painting.

The rest relies on basic painting techniques. I utilize gold leaf gilding techniques that reflects Japanese art techniques and religious art history. I place a lot of research into my subject matter as well. I believe anyone can make a great painting if you can put your heart, knowledge, blood, sweat, and soul into it. Think about all the formal elements of art and the compositional balance.