Istoria
ISTORIA implies that painting should exhibit multiple layers of the human condition. For example, a painting could allude to the abuses of state or institutional powers; it could expose a person’s character frailties manifested in man’s proneness to corruption, lies, deception, or treason; or it could reveal higher states of consciousness like courage, compassion, and humility.
One day, while at the library, I stumbled upon a book that captivated me. It was Della Pittura, by Leon Battista Alberti. The book mentioned Greek artist Apelles as one of the greatest artists in antiquity because he could paint envy, calumny, greed, and all that which was invisible. Alberti named this quality in painting: ISTORIA.
New Pictorial Language
I was intrigued by the concept and thought, why not apply it now? Only, not through the recourse of pictorial narrative as Apelles did, but instead, by juxtaposing visual images in such a way as to bring to light the hidden contradictions rooted in our present-day life. But I realized I needed to add new elements to my pictorial vocabulary to achieve this. I started incorporating string, videotape, acetate sheets, plastic bags, and water into my paintings. To each of these, I assigned a meaning:
Acetate sheet with text = ideology
Videotape = information
String = an information channel
Plastic bag = isolation
Water = tranquility
I intended my paintings to be read like books.
The Altruists
1998
