I have way too much to accomplish this week. I have zero hours to spare. However, my insomnia was in full effect at 3:30 am this morning which had me scrolling through Instagram and ultimately caused me to see an artist grant that I felt was perfect for me. It’s called the Hopper grant - See? Perfect. Whether it has anything to do with the artist Edward Hopper or not was not specified on their website (sus). But it became one of those “This is a sign,” moments. And of course, the deadline was today. Not tomorrow, not this weekend. TODAY. It’s been posted for months, but I happened to see it the day is it due - which is either very lucky or just kind of unlucky. It really depends on whether I get it. So I spent my morning crafting an artist statement because, oddly enough, I don’t have one of those “ready to go.” I always write something custom when need be - because apparently, my REAL mental illness is making more work for myself. There is no cure.
In any case, I finished the application and I thought it would be nice for me to share my artist statement here. If not only to know where I can find it later but also to show those who are familiar with my art a brief synopsis of why I do it. It’s very tame for me. There is almost no trace of anti-establishment, but I figure, I have to ease them in before I can start a movement.
I am a classically trained fine artist. I graduated from Pratt Institute and inevitably pursued a career in commercial design where I worked as a Creative Director for years, while my fine art took a back burner. I was made to believe that this was the only future in which my artistic skills would be valued, and I made peace with leaving my art in the past.
It wasn’t until I moved to Astoria, Queens in 2012 that I was overcome with the urge to paint again. I had arrived in a cityscape that felt unique. Unlike other areas, it had retained so much old-world charm while embracing a wide diversity of lifestyles. I was inspired by the generations of family-owned businesses and the array of cultures they had come together to create a collaborative community - I became inexplicably moved to capture it. This marked the first time I ever felt at home. Initially, I began recording the varying architectural styles that change from block to block. To other people, the neighborhood is a patchwork of mismatched buildings, but to me, it’s historic evidence of different cultural influences moving in and out throughout history. These buildings capture moments in time.
I’ve often been compared to Edward Hopper because of my portrayal of quaint city moments. As flattering as that is, I feel the real similarity is our deep emotional connection to our neighborhoods, which is reflected back in both our works. I began painting my neighborhood over a decade ago because I was simply charmed by its scenery. But now, I paint to protect it and to commemorate it as it rapidly changes. Throughout this project, I have become a leader in my community who is vocal and active in preserving the landmarks, and staples, and maintaining accessibility for the people who have worked to shape it. I paint now to immortalize my home and capture it through the eyes of its faithful residents.
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