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I’m a very eccentric individual, but find myself to possess the spirit and dedication to become the most innovative contemporary painter. Through the use of dynamic and lyrical lines combined with color theory learned from the great masters of twentieth century abstract art, my mind strives to offer a sense of urgency and delicacy to the contemporary art world that cannot be echoed.
I fervently desire to change the world through my paintings and am exceedingly knowledgeable of art history and use this to my personal advantage. My work is heavily influenced by spiritual and philosophical elements of Piet Mondrian, and sublime color fields of Mark Rothko and Barnett Newman, but am also highly intrigued by the lyrical qualities of Arshile Gorky, Larry Poons and Willem de Kooning. A contemporary master knows how to exploit their influences, and turn them into an innovate complexity that unabashedly jostles the subconscious.
The “BK Series” was born out of a newfound coexisting infatuation and loathing towards the blue screen life in New York City. These paintings are a collocated cosimulation of line and color. The first works of the series were conceived by violently abstracting and flattening the shapes and colors from a rooftop perspective in Brooklyn. After developing the outlines I’ve entitled “Frames,” I began to expand the series through the concept of synesthesia and broadened the elements of the series to enrich all the senses.
With over ten years of graphic art and design experience, it was about time for me to fuse my commercial work with my fine art, and this had been brought forth in the “Illustrator Series.” For these paintings, I’ve utilized my expansive repertoire of design and coding knowledge, and developed it into mathematical brilliance. The “BK Series” is predominately spontaneous abstractions, while the newer body of work is carefully crafted with design software before it is transplanted onto canvas. I find these works to be personally fulfilling and offer a glorious juxtaposition to the unfettered works. The series is the polar opposite of my earliest abstract paintings, and the mathematical arrangements give the paintings some verisimilitude.