Yoeru
Kitamura
2D Emphasis
My art usually consisted of looking at a subject and trying to copy it on paper. I was often asked questions about my art I had no answers to, nor was I able to “read” art as I looked at them strolling through a gallery. My interpretation of art was very simple and came down to if I ‘liked’ them or not. That was until I enrolled in art courses at Weber State University.
With a new profound discovery in art, I am exploring different processes of drawing the human figure. In my current focus, I am exploring the relationship my mediums have on the models I draw or paint from. The carbon in charcoal, water in ink, paint brushes made with hair are some examples of things that have relationships to our bodies. By taking advantage of this intrinsic nature of subject to medium, it helps to give my work an organic feel to them.
Over the last couple of years, I have learned to let go of artistic habit and let my instincts take over. Sometimes I go into a trance-like state, letting my hands do all the work and leaving out all the formalities of proportion. Recently a model I was drawing from has noticed that my whole body was encompassed in my work during a session. As I continue to learn different techniques, ideas, and experiences, my work will continue to evolve as mankind has done the last 40,000 years. Hopefully someone will be able to “read” my artwork in the years to come.
2D Emphasis
My art usually consisted of looking at a subject and trying to copy it on paper. I was often asked questions about my art I had no answers to, nor was I able to “read” art as I looked at them strolling through a gallery. My interpretation of art was very simple and came down to if I ‘liked’ them or not. That was until I enrolled in art courses at Weber State University.
I studied different art and artists
of 21st century in an orientation to visual studies class in spring
of 2011 and followed by a dose of art history of Paleolithic to AD1000. From
cave paintings to modern art, I was able to see how each artist created their
work and why they did it. This is when I first realized that there was much
more to art than just the final product, that there was a process involved in
each works of art. At that moment, it was like a light bulb had turned on in my
head; that the process is just as important as conception.
In the summer of 2012, I had the
privilege of going to London just before the Olympics to visit some art
museums. A very memorable moment was at the Queen's Gallery, where I saw Da
Vinci's work for the first time in person. A master whom I admire very highly was in
front of my face, rendered through imaginary visage of our eventual meeting. Another inspiration came from my visit to the Tate Museum. In particular,
Dorothy Tanning's "A Mi-Voix" caught my attention and I could not pull away from
it. I was intrigued by the layers of movement upon the figure, I later emulated
her piece and resulted in "A Petite Vitesse" (Slow Time).With a new profound discovery in art, I am exploring different processes of drawing the human figure. In my current focus, I am exploring the relationship my mediums have on the models I draw or paint from. The carbon in charcoal, water in ink, paint brushes made with hair are some examples of things that have relationships to our bodies. By taking advantage of this intrinsic nature of subject to medium, it helps to give my work an organic feel to them.
Over the last couple of years, I have learned to let go of artistic habit and let my instincts take over. Sometimes I go into a trance-like state, letting my hands do all the work and leaving out all the formalities of proportion. Recently a model I was drawing from has noticed that my whole body was encompassed in my work during a session. As I continue to learn different techniques, ideas, and experiences, my work will continue to evolve as mankind has done the last 40,000 years. Hopefully someone will be able to “read” my artwork in the years to come.
