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Shushanik Karapetyan
Brooklyn, NY
Neighborhood: Midwood



ARTIST STATEMENT: It was during my first class in watercolor painting where the professor had instructed us to experiment with our materials, to see what different marks we can make on paper, that I discovered my curiosity about the signature of tools, whether they were traditional tools like brushes and palette knives or unconventional ones like flash lights used as “brushes” in the dark for light painting. Through experimentation I highlighted the unique abilities of the tools I used in the way they made markings. In many of my paintings I use different sizes of flat brushes. The color applied to the brushes is done so in a way to emphasize the trail it leaves as it glides, twists and turns on the paper. Likewise, I use other types of brushes such as round, filbert, or fan brush which all have different qualities in the way they leave their footprint on the surface of the paper. I produced a Watercolor Line Art series using flat brushes, which resonates with the work of Georgia O’Keeffe, often communicating femininity, sensuality and organic motifs. Another line of work that emerged were the Watercolor and Acrylic Pointillist paintings with the use of the round, flat, or filbert brushes, echoing the works of impressionist artists like Georges Seurat and Claude Monet, tapping into the ability of the human eye to blend points of colors on their own. Ultimately, some paintings evolved to contain different markings of different tools on the same surface. Controlled chaos is a theme in my textured acrylic cubism paintings. These paintings emphasize the process. The choice of paint is acrylic due to its capability of expressing texture and the choice of tools are palette knives and tape. The paintings give the opportunity to express anxiety on the canvas and see it visually. The first step is laying down tape to make geometric shapes on the canvas. This is followed by spontaneously laying down color with a palette knife withholding control and careful planning in a cathartic manner. After a shape has been filled with the fervent energy of the painter, capricious as the sea, the tape is slowly removed revealing a clean line like the horizon beyond calm waters. The textures and colors run wild on the canvas juxtaposed by the silent lines of the cubes that poise the chaos with their serenity. The process of this type of painting is very fulfilling as the painter gets to express their anxiety, see it and therefore have it validated, and finally, is able to see the boundaries of it. My process begins with a flexible idea, which can be the reflection of emotions, a state of mind, or the atmosphere. The idea is spontaneously transformed during the creation through color, texture, and form. Thus, the act of painting is like fervent exogenesis. It is full of passionate intensity (fervent) and it is the act of simultaneously entering and exiting (exogenesis).
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