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CONTINUES Ar t ” and “Figure Painting and Drawing.” In the first class we argue the meaning of minimalist ar t which is fun, and the second is just three hours of prac tice. RF: What do you t ypically paint the most? Is there a prominent theme? CF: People, for sure. I mainly do por traits. My st yle is becoming pret t y realistic, but sometimes I rever t to a simplistic st yle with no faces, just shapes. Lately, I’ve been tr ying to analyze my past work and why I paint what I do. With that said, I think I tr y to paint the concept of identit y — not necessarily my own or others’ personal identities, just the idea of it in general. I have a strong indifference towards labeling. I’m sor t of questioning whether it ’s necessar y for us to be. I also layer a lot of faces and tr y to represent some aspec t of time by painting sequences. RF: Do you look up to any specific ar tists? CF: Yes! Right now I tr y to keep up with Jenny Morgan and Jen Mann. I found them on Insta-

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gram and they ’re both figure painters, but they use really unrealistic colors and por tray images of sor t of raw, dif ferent figures like fat and sad people. RF: What ’s af ter graduation? CF: Well, las t summer I interned for a local nonprofit here called SAY Sí (San Antonio Youth Yes). I now work there par t time, but hopefully I get the chance to s tick around full time af ter I graduate. Eventually I want to go to grad school for painting—but who knows, I could get into sculpting, so I’m keeping an open mind. RF: Can you tell us about the program? CF: I teach tuition-free ar t education to lower income s tudent s. It ’s an af terschool program where we provide the materials and the environment for the kids to express themselves. We execute shows with themes and give them mediums and sor t of guide them to their finished projec t. RF: What ’s your ultimate goal with ar t in the nex t 1015 years? CF: I’d like to be making ar t; however, the education aspec t

really appeals to me. I don’t want to be a teacher, but rather a teacher of sor t s — hopefully I’ll s tay connec ted with nonprofit s. RF: So basically you already have your dream job. What would you do if it wasn’t painting? CF: My dream job was always to be

a layout editor with an ar t magazine. “Jux tapoz” was my favorite magazine all of in high school, and I was always on yearbook s taf f. I made the switch in my major because I couldn’t s top thinking about ar t, and I wasn’t sure why I was s tudying some-

thing I didn’t think about all the time. RF: Who do you paint? CF: Well, I draw people in front of me. Over the summer I had a 10 -hour layover in NYC, so I rode the subway and sketched people. I also paint people I know — I often use my family

and friends as subjec t mat ter. I think it makes the process more intimate, and when I like my subjec t I’m more compelled to work on it. Sometimes, if my relationship isn’t as s trong as it could be with someone, I’ll paint them to feel more connec ted.


Study Breaks Magazine November Austin