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我的简介 - Frank Malafronte
Art is my primary form of expression. Most of my work is a release of love, joy, sexual desire, inner secrets, or perhaps anger and frustration. Recently, the inner expression that inspires my painting has been woven into either beautiful or brutal landscapes framed by my recent travels. In particular, I have been moved by the raw and emotional edginess of Latin and South America, particularly during a month-long trip to Brazil in the height of their Carnival. Brazilian culture captures a creativity that is found only in a country undergoing massive transition. It’s a vibrancy that the United States seems to lack. Several of my more recent paintings are inspired by the stunning colors, the passionate and wild energy of the people, and the steaming intensity of the land. The abstract-landscapes are only the visual and more obvious entrance to the underlying emotional release in each piece, which is expressed in the energy of the work.
Jean Michel Basquiat’s graffiti, Wolfgang Tillman’s photographs of personal attraction, Richter’s political paintings, and the pushing of people outside social and personal comfort zones inspired a significant body of work prior to these landscapes. I liked this rebellion against cultural norms when I was younger. These norms encourage safe uniformity at the cost of exploration or discovery. And I still believe in pushing the envelope. In some of my recent work, for example, I use phrases found in Craigslist’s advertisements for superficial sensory connection juxtaposed with images of idyllic love and romance found in Paris. These real-world phrases, brought to the forefront of a painting, show that taboo currents run powerfully just beneath the surface of a Hallmark society.
My most recent work draws inspiration from Sze Tsung Leong’s monochromatic urban landscape photography of the massive growth found today in Southeast Asia. In my mind’s eye, I connect these works with Edward Burtynsky’s large scale, industrial photographs that focus on ecological devastation. Together, these inspire oil paintings that stand in sharp contrast to the optimism and celebration found in my Brazilian landscapes. Here, I combine monochromatic colors with a drip technique similar to that used by Cy Twombly in his work Four Seasons to evoke a feeling of social misdirection. These works portray a society so busy growing that it has not yet noticed that it follows no productive path.
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