i'm starting to miss my toy paintings
and i'm starting to notice people's faces again

i guess this means
that i'll be painting my toys
and doing portraits again

i'm a little excited

i want to see nine 3'x3' paintings of an atari joystick
i think that'll be fun

i also want to see more asian portraits

well
it's time to get to work

as my brother would say
it's time to "geak out" on it

so! finally i got an Artist Statement together for my new Harmony Series.
here it is:
oh by the way, i just had my reception last saturday, it was alot of fun. i gotta do better with being comfortable around people who enjoy my paintings. ahhhh, it still feels funny. hahaha. i was introduced to a potentally new collector that night and instead of talking about the work, i diverted her attention toward the construction that was happening accross the street from the gallery. weird. anyway, i'll be writing more about the reception later.

in the meantime, here you go:
The Harmony Series
Artist Statement
Michael Sacramento

The Harmony Series is a collection of "mood" paintings that are inspired by the colors of our surrounding - from flower gardens, to the blue sky, and concrete. As a group they are a kaleidoscope that brightens our eyes, and reminds us of childhood joy and wonder. Individually, each of them create or enhance a certain mood within a room. While Green Grass embodies serenity and freshness, Autumn Leaves gives warmth and comfort. As After Sunset portrays the shift of day into night, Rose and Concrete represents the beauty of our urban life.

Each painting is created with a palette knife which spackles layers of transparent, thinned pigment onto canvas. This process provides a deep, rich and unique surface of multiple harmonious colors. Because of the unique surface, each painting can gather light and illuminate itself. It can also subtly change its appearance, depending on the light source.

There is something about these paintings that I thoroughly enjoy. I hung Green Grass in my own living room. I can't exactly articulate the effect that it had, but I definitely experienced a calm and relaxed mood while I was around it. I loved how it kept me company without demanding too much of my attention. It didn't beg me to study or analyze it, but I still glanced at it from time to time. And at times, I did find myself studying it, noticing the details that blend together in order to create its lush color.

Although inspired by the beauty our world, The Harmony Series is not a representation of any recognizable object. Instead, it offers a new object of wonder in which the eye can study and appreciate. Each painting is a translation of the emotions we feel when we encounter the world and its beautiful environments. It's subtle yet strong personality truly embodies a unique and confident nature which presents a serene and vibrant soul.

it's a day before the reception for The Harmony Series

the paintings have actually been up in the gallery for sometime
but tomorrow is when they are officially introduced to the public

last year, when i was painting my Asian Portraits series
there was already a heavy buzz before its official reception
and it felt like the paintings were gonna fly right out of the gallery
true enough, my feelings were justified. almost all the paintings shown were sold halfway through the next year. i would say that it was a small success.

this year, The Harmony Series is not having the same buzz that the Asian Portraits had. Many say that it's the lack of subject matter, and the lack of contrast that makes it difficult for people to engage. I tend to agree. However, I only tend to agree when i look through the lens of representational art.

when a painting depicts recognizable objects or environments such as fruits, people, or landscapes... it needs contrast and defined shapes to succeed. but, what if the painting does not try to depict any recognizable object from our world, but offers a new object of wonder and delight? what if it actually doesn't show a representation of an ice cream cone, but actually exists as an ice cream cone exists?

anyway, let me get off my soapbox and get back to my story.

so the reception tomorrow, probably won't be as big as the 300 attendee reception for Asian Portraits and it's co-exibits. it will probably be somewhere between 50 to 100. this is probably because the featured paintings are all abstract, including "harmony".

the insecure part of me tries to convince me that maybe my new paintings just aren't that good. which is probably the reason why people aren't inclined to buy them. but a huge part of me knows that they are good, because when i pretend that someone else created them i fall in love with them. i start to wish that i painted them instead of someone else. then, i am filled with joy once i stop pretending and realize that i am the one who painted them.

i think members of the general public also feel some sort of joy, and childish wonder when they look at "harmony". eventhough they aren't normally drawn to abstract art, i feel that they are drawn to mine. i know, because they tell me. they tell me unsolicitedly. but i also know that even though they are fascinated, they are cautious. even though they feel just as nice looking at my abstract paintings as they do with landscapes or flower paintings, they are cautious that it may not be a wise decision to spend almost $1000 for a painting that could have been done by anyone. afterall, there maybe friends or loved ones that may question the purchase.

i really understand, because i'm new to this abstract thing myself. only recently have i started to openly appreciate it. so i guess it's ok that there isn't much buzz with The Harmony Series. if people like it, but don't buy it it's ok. it'll be our little secret.