I remember spending Sundays in church with my family, a Southern family tradition in the United States. While the preacher was delivering his sermons, I was always drawing but listening. Inspired by the messages from the Bible, architecture and colorful stained glass windows of the church, it became a place where I started my creative journey and unlocked my future.
In this current body of work, I re-examine my standing with religion and other influences that have imprinted on me, which have shaped my life. Asking questions and trying to understand myself, my path and my place in the world.
The paintings are based on Christian religious stories and key characters in the Bible. I would then cross-reference and compare them with similar Greek mythologies. While hearing the stories in my head, I relate them to my reality, transforming them into a collage of religion and its correlations to mythology, life, imagination, and childhood nostalgia onto a subject matter that I called MYTHOLOGYANITYISM. While doing this, I created my own world and language through the style of painting and authentic symbolic symbols to talk about any subject.
The topics are based on my relationships with life, death, relatable self-reflection, internal struggle, parenting, family, temptation, race, politics, social status, greed, time, questioning of one’s fate, guilt, the act of painting, and good vs evil.
These suggestive paintings came to me intuitively, unveiling problems, solutions, self-reflection and growth to the relationships in my life. Therefore, becoming my therapy. I discovered that a vast majority of our lives are occupied by the universal connections with different types of subjects, all within the influence of Christianity. Like the stories in the Bible, these paintings can be read with many interpretations, and through those universal values, allow everyone to connect to the subject matter despite their beliefs.
The Bible is a great tool for visionary stories. Some are believable, and others are not. Deluding myself to believe in magical things, I still want Santa Claus to be real. The reoccurring cardinal, gator and snake are pivotal symbols in my reality and art, chaining me to my religion.
Painting is my medium to conceive this series because of its ability to be physically real. It is something I can see, smell, touch, and I know it will withstand the test of time. Just like Saint Thomas, who needed to feel the flesh and ribs of Jesus Christ to believe, a painting reflects the tangible truth, which seems to be all the more vital in today’s misleading information-filled world.
My faith has taught me, “Yes, this is all true but also probably never happened.”