Sam Hulsebus
My art exists at the center of architecture, philosophy and abstract expressionism. The organic forms of architects such as Zaha Hadid and Daniel Libeskind drive the formal nature of my works, resulting in an abstract style that exists in a more figurative nature. The muscular and skeletal system of humans and animals are the building block for most of my pieces, due to the complexity and simplicity they offer. Without painters like Jean-Michel Basquiat and Francis Bacon, my style would not be as developed nor as aesthetically powerful. The raw emotion that floods those pieces are the reason I went from developing 3-D space within an architectural realm, to the creation of infinite space within a second dimensional canvas. Each of the paintings represent either a philosophical thought or question, or a memorable experience from my life. It is important to me that a conceptual theme overpowers the body of the work, and once I have established this, I resume a thoughtless and a primally emotional execution of the concept. By destabilizing and neutralizing the thought process, I'm able to ovrercome my own anxieties and bi-polar mania to create a work of art that acts not only as a cryptic diary entry, but also acts as a therapeutic expression of self that can be revealed to potential collectors or buyers. The first piece within the series "important documents from rhubarb" is entitled 'Chicago' or 'Pablo, Diablo, Chicago'. This piece represents my experience in Chicago with my architecture class, where I visited the world renowned architecture firm SOM and was overwhelmingly disappointed that this was my career choice and focus of thought at that point in my life. What made the trip worthwhile, was the experience I had at the cathedral Michael Jordan built, where I witnessed Kanye West's "The Life of Pablo" concert on his Saint Pablo tour. The experience was memorable beyond explanation. The third experience from this trip, which had the most significant impact on me, was the viewing of Pablo Picasso's "Old Guitarist" at The Art Institute of Chicago. I stood in front of the painting for what felt like the most powerful second of my life, and in actuality was closer to an hour. The size of the piece was inspiring, it was not that large, even though in mind, it's scale was the size of a building.
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