Artist living in Harlem

1. Exit Breathe.JPG

Khari Turner (b. 1991) is an American artist. His works are expressive of how he uses spontaneous brushstrokes very intensively, and clear depcition of the African Amerian’s features of nose and mouth, yet in chaotic and immersive texture with the various interesting effects, they are embodies of the popular culture within their community, they show a strong attitude and pride.

Even that he works with very surrealistic colourful palette with canvas, but I excessively love the monochromatic black and white in a combination with the colour and the flesh. These are ink on paper, and splash and smear use of black and white paint, so many interesting actions with the drips; scribble; bleed and smear…

The noses and lips of black skin represent my history and connection to my heritage, but they also represent the fact that people with wider noses, thicker lips, and darker skin statistically getting longer prison sentences in the US and this positive and negative is what drive the point of the work.

Khari Turner

Daniel Richter

Daniel Richter, ‘Tarifa’, 2001
Tarifa, 2001
Oil on canvas, 137 4/5 × 110 1/5 in, 350 × 280 cm
Daniel Richter, ‘Süden’, 2002
Süden, 2002
Oil on canvas
289.4 × 299.6 cm
Daniel Richter - Grimm Gallery
Gundula, 2001
Oil on canvas
230 x 150 cm
Daniel Richter, Flash (small version), 2009
Flash (small version), 2009
Oil on canvas
270 x 220 cm

Daniel Richter, ohne Titel (untitled), 2009
ohne Titel (untitled), 2009
Oil on canvas, 298 x 598 cm | 117 3/8 x 235 3/8 in

Daniel Richter (b. 1962) is a German painter whose strongly coloured, often slightly surreal paintings convey current events and art historical issues with an irreverent and energetic approach.

A way of working through the insecurity, fear and paranoia of being in the world. The key, he says, is to avoid distance and to make painting human: “The moment you take something that has a human effect on you, something you can’t describe, the whole thing transforms from a topic to something that is about yourself.”

“I wanted to bring as much information into a painting as possible, which was, on a very simple level, a way of coping with reality,”

in the painting Tarifa, that moves me so much, not only the vivid colour almost-fluorescent colors and variegated brushstrokes. This reminds me of heat detection of living beings… these figures are crammed and flowing in a small representation of a dark sea… cold and desperate… the strong distortion of the facial expression… these are indexes for danger, for fear and death, for a clue in topic of refugee, or a situations of rebellion.

i think the fluorescent colour and psychedelic scene is a very contemporary approach, as the paint is only relatively new, here i dig into some research on paint that has fluorescent pigment / or even glow in the dark.

The brothers Robert C. Switzer (1914 – 1997) and Joe Switzer where the inventors of the first fluorescent pigments which they called Day-Glo. Felix De Boeck (°1898 – + 1995) is one of those first artists to experiment with fluorescent colors. The Boeck only made eighteen fluorescent paintings. “ He used earlier grafisms – mostly self-portraits, portraits of Vincent Van Gogh and a few abstract works”. He soon realized that fluorescent paints have a limited lifespan. In conclusion: Fluorescent painting only last a short time. Even if the works are conserved optimally, the first signs of intensity loss will be visible after five years.


stare iii by jenny saville
STARE III,  2006
oil on linen
270.6 x 220.6 x 6 cm. (106.5 x 86.9 x 2.4 in.)

Jenny Saville, UK, member of Young British Artists (YBAs). She focused her interest in “imperfections” of flesh, with all of its societal implications and taboos, reconstruction of human flesh was formative in her perception of the body—its resilience, as well as its fragility. 

The angle she chose, life force, the look of a vulnerable, out of control state.

She is very ambitious on working on large canvas, and exploring the female artists boundary… and that sense of scale shows immediate affect the relationship with the reader and the human in the paintings, she acknowledges that large painting are taken seriously. She is currently scaffolding how to put ideas into multiple realities, “we dont live in one reality now.” She said. This is also the idea i want to reflect in my work, overlapping movements that show multi-angles and a sense of time, and presence…

I’m trying to see if it’s possible to hold onto that moment of perception, or have several moments coexist… Like looking at a memory.

Jenny Saville

+ Saville overlaps with me in ways of expressing vulnerabilities, multi-realities, and the perception in the age of digital communication

Nicolas Holiber

This Land is Your Land, 48 x 36 inches, acrylic and oil on canvas, 202
Homeroom, 20 x 24 inches, acrylic and oil on canvas, 2020

Nicolas Holiber is a Brooklyn based artist who paints, sculpts, and creates public artwork. Combining found and reclaimed objects with artistic materials, Holiber creates contemporary objects that are inspired by the fragmented remains of ancient sculpture and the artwork of past civilizations. His art is characterized by its vivid use of color, composition, and line to produce multidimensional pieces that merge aspects of painting, drawing, and sculpture. I love this style, the fragmented constructed and textural portraitures + figuration, that depicts a strong characterisation and narrative.

In the work —This Land is Your Land, 48 x 36 inches, acrylic and oil on canvas, 2020. Suggested by the recent reading of – “13 ways of looking at a blackbird” no.2: Content arising from verbal supplements supplied by the artist. By looking this, 4 people are composited, they seem like having an argument, such is performing a violent act; expression; tension; and differences of the flesh. Is this a family situation, or is this applying the different social/racial issue? By reading his bio again “remains of ancient sculpture and the artwork of past civilizations” this further explain the painting is influenced by our social background. Is this related to the outburst of BLM?

Comparing to this, I like another piece “Homeroom” 20 x 24 inches, acrylic and oil on canvas, 2020″ a solo portraiture of really disturbing look of her face, staring at a fly on her fingertip, and a TV set and huge book behind her. This shows me a complicated emotion; the boredom; frustration; hate; and the comparable size of the fly and her face. Is she thinking about “Oh, I envy you little free life.” is this painted during the lockdown, is she craving for the outside world? This resonates me so much, and this is some kind of emotion inflecting most of us, i wish to create a memo piece for some of these feeling we all share.

Nicolas Holiber

Elizabeth Peyton

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Elizabeth Peyton is a contemporary American painter best known for her intimate, small-scale portraits of celebrities, friends, and historical figures. Characterised by transparent washes of pigment and a jewel-tone palette, Peyton’s works address notions of idolatry and obsession.

For me, her works are similar with the intention of why we paint, capturing the mood; subject’s emotion; and the general feel of the person’s aura; being fasciated with the characterisation, and being fasciated with the features and uniqueness of such people.

What attracts you in a face? Is it the eyes? The line of the lips, the wrinkles, the smile?

“I think it’s the personality that makes those lines and eyes and colors and wrinkles. You know, I think people’s faces look how they do from a lot of internal conscious decision making or even just the movements, how they use their face — it has to do with their emotional character. I think everybody is beautiful, can be beautiful… It’s sort of a matter of choice in some way. ”

“To paint well, I need to be enraptured by my subjects.”


” I think the final circle in being an artist is connecting, making some conversation to the world you’re in. “

— Elizabeth Peyton

Marlene Dumas

I love the gestural brushstrokes and the thin washes of paint / watercolour / ink to create this distinctive appearance. She is exploring the complexities of identity, raising awareness on social & political issue by collecting from her personal collection and the print media. Looking at her background of being born in South Africa, she is confronting themes like racial and ethnic identity.

The majority of her works may be categorised as ‘portraits”, but they are not portraits in the traditional sense. Rather than representing an actual person, they represent an emotion or a state of mind.

Race and sexuality, guilt and innocence, violence and tenderness.

Marlene Dumas, Naomi, 1995
Stedelijk Museum Amsterdam

Swedish artist Anna Bjerger commented “A good figurative painting does something to you, surprises you, takes you somewhere different, is convincing and generous. A good painting often leaves you speechless,” she said. Like her peers, Bjerger also ties a figurative painting’s merit to the response it elicits in an individual. She admires the paintings of Marlene Dumas, whose work “feels naked yet lush”; the South African painter “manages to transcend meaning in a way that never feels blunt,” Bjerger said.


+ who are the subject matters that i’m depicting? what similarities do they share? + what culture / social aspect that i am interested in?

+ how do i create a signature voice that elicit a reaction in the viewer?