ARTISTS THAT INFLUENCED MY WORK
This is a case study that presents two artists in depth, Eric Zener and Cesar Biojo, who have both heavily influenced my artmaking practice. The study delves into the frames the artists work through, the conceptual framework and its influence on their works, their artmaking practice, as well as historical and critical accounts associated with each artist. In addition, this booklet will provide information with how the above aspects of each artistic process are linked to my own personal practice.
ERIC ZENER
CONCEPTUAL PRACTICE
Eric Zener is an American artist that specialises in painting, and has been creating artworks professionally for over 25 years. Though Zener’s artworks are very aesthetically pleasing, his practice is full of concepts and reasoning behind his artistic decisions.
As a resident of California and someone who has grown up surfing and swimming, water has always been a very important part of Zener’s life, this is portrayed through his works as water is often present in his paintings. He described the universal importance of water in an interview with Carpaccio Magazine in saying- “We are of water, from water and universally drawn to water to sustain, cleanse and find joy in. I think the egalitarian aspect of the beach and bathing together in the sea is a beautiful part of humanity.” Zener creates this peaceful idea of water connecting the human race through the intentional simple composition and a calm colour scheme.
The idea that water is of great importance and can be used as a calming device is something that I relate to on a personal and international level. Personally, living in an area that is defined by its beaches, I understand that water is a great connective device that puts differences aside between people, and instead allows us to share the marvel that is our oceans. This applies globally also, as it reminds us that we are all human and all have this need for water. These are definitely concepts that I would like to demonstrate through my own artmaking, through a similar inclusion of water and composition
MATERIAL PRACTICE
Zener’s material practice may be considered unique by other artists as he has never taken an art class or gone to art school and is completely self-taught. He first started to utilise underwater cameras in 2003, this impacted his practice as he was able to create his paintings with more accuracy. Prior to this he would get models to pose in his studio and then substitute that into his underwater paintings. Even though the photographs have helped him to develop a greater understanding of how light reflects underwater and the different ways the human figure interacts with water, Zener has mentioned in a lecture for the Academy of Art University that he only uses the photos to get an accurate outline by graphing the photograph and then the canvas. He claims to invent the rest of the painting in regards to colour, lighting and water bubbles, as he believes that – “it’s unpredictable what the lighting is like in a swimming pool”. After listening to this segment of the lecture I have decided to not rely as heavily on the photograph and creating the work exactly to the image, as Zener still creates photorealistic works without such restrictions.
Another interesting aspect of his material practice is that he chooses various body parts of photos he takes and joins them together in a procedure that he calls “frankensteining”. This would be done if he saw a photo that had a nice part of the body but had a body part that he didn’t particularly want in his artwork, he would find one that he did like in another photo and join it to the rest of the body in the first photograph. Though I find this interesting I do not believe I will demonstrate this technique in my own artmaking.
CONCEPTUAL FRAMEWORK
Through his works, as well as interviews and critical accounts, it becomes apparent that Eric Zener has very strong interrelationships between himself, his artworks, his audience and the world around him. The world around him has proven to be a major inspiration for his works, especially his closer environment such as his family and the area in which he grew up.
His family was Zener’s primary inspiration as everyone in his family was involved in art in some way, however it is specifically his grandmother that had sparked his love for painting as she was a prolific painter herself. In a lecture for the Academy of Art University he mentions that- “Painting and artmaking and creativity was never considered extra-curricular. It wasn’t the thing that was what you did after you did your math and your other responsibilities in school. It was sort of treated as a normal part of everything you should do as a child.”
As mentioned earlier the area that Zener grew up in, California, has evidently shaped his artmaking practice. Seeing as California is a place known for its beaches, swimming and surfing were a large part of his life, which is something that can be seen through his works as they often feature water. Aside from wanting to spread the importance of water through his works, Zener also sees water as a reminder of simpler times as he mentions in Carpaccio Magazine - “Water also acts as a portal to a nostalgic bridge to our youth; when life was more carefree. When we are submerged, for only a moment, the world above drifts away….” I agree with this idea and intend on incorporating it into my own work through a child subject and a peaceful composition.
His audience also is of great importance to his artmaking. When Zener first started creating artworks professionally he sold his artworks at cheap prices in order to “get them out there” in the art world, however now that his broad audience has promoted his works to a wider community, his art has become more desired. This has led to more frequent production of paintings, approximately 20 per year, which some see as the artist becoming commercialistic. As well as this Zener has started to paint commissioned works and raised his prices, and in result, narrowed his target audience to wealthy buyers. In interviews he has said that he misses being able to create artworks for a vast demographic as having wealthy people buying the works distantly, dims the romanticism of a purchase. He recognises that in the art world, lowering prices is unacceptable so he is unable to change his target audience. Zener says that he would like to distribute his works to anyone that wanted them because he believes “art belongs in people’s lives”.
Eric Zener is an American artist that specialises in painting, and has been creating artworks professionally for over 25 years. Though Zener’s artworks are very aesthetically pleasing, his practice is full of concepts and reasoning behind his artistic decisions.
As a resident of California and someone who has grown up surfing and swimming, water has always been a very important part of Zener’s life, this is portrayed through his works as water is often present in his paintings. He described the universal importance of water in an interview with Carpaccio Magazine in saying- “We are of water, from water and universally drawn to water to sustain, cleanse and find joy in. I think the egalitarian aspect of the beach and bathing together in the sea is a beautiful part of humanity.” Zener creates this peaceful idea of water connecting the human race through the intentional simple composition and a calm colour scheme.
The idea that water is of great importance and can be used as a calming device is something that I relate to on a personal and international level. Personally, living in an area that is defined by its beaches, I understand that water is a great connective device that puts differences aside between people, and instead allows us to share the marvel that is our oceans. This applies globally also, as it reminds us that we are all human and all have this need for water. These are definitely concepts that I would like to demonstrate through my own artmaking, through a similar inclusion of water and composition
MATERIAL PRACTICE
Zener’s material practice may be considered unique by other artists as he has never taken an art class or gone to art school and is completely self-taught. He first started to utilise underwater cameras in 2003, this impacted his practice as he was able to create his paintings with more accuracy. Prior to this he would get models to pose in his studio and then substitute that into his underwater paintings. Even though the photographs have helped him to develop a greater understanding of how light reflects underwater and the different ways the human figure interacts with water, Zener has mentioned in a lecture for the Academy of Art University that he only uses the photos to get an accurate outline by graphing the photograph and then the canvas. He claims to invent the rest of the painting in regards to colour, lighting and water bubbles, as he believes that – “it’s unpredictable what the lighting is like in a swimming pool”. After listening to this segment of the lecture I have decided to not rely as heavily on the photograph and creating the work exactly to the image, as Zener still creates photorealistic works without such restrictions.
Another interesting aspect of his material practice is that he chooses various body parts of photos he takes and joins them together in a procedure that he calls “frankensteining”. This would be done if he saw a photo that had a nice part of the body but had a body part that he didn’t particularly want in his artwork, he would find one that he did like in another photo and join it to the rest of the body in the first photograph. Though I find this interesting I do not believe I will demonstrate this technique in my own artmaking.
CONCEPTUAL FRAMEWORK
Through his works, as well as interviews and critical accounts, it becomes apparent that Eric Zener has very strong interrelationships between himself, his artworks, his audience and the world around him. The world around him has proven to be a major inspiration for his works, especially his closer environment such as his family and the area in which he grew up.
His family was Zener’s primary inspiration as everyone in his family was involved in art in some way, however it is specifically his grandmother that had sparked his love for painting as she was a prolific painter herself. In a lecture for the Academy of Art University he mentions that- “Painting and artmaking and creativity was never considered extra-curricular. It wasn’t the thing that was what you did after you did your math and your other responsibilities in school. It was sort of treated as a normal part of everything you should do as a child.”
As mentioned earlier the area that Zener grew up in, California, has evidently shaped his artmaking practice. Seeing as California is a place known for its beaches, swimming and surfing were a large part of his life, which is something that can be seen through his works as they often feature water. Aside from wanting to spread the importance of water through his works, Zener also sees water as a reminder of simpler times as he mentions in Carpaccio Magazine - “Water also acts as a portal to a nostalgic bridge to our youth; when life was more carefree. When we are submerged, for only a moment, the world above drifts away….” I agree with this idea and intend on incorporating it into my own work through a child subject and a peaceful composition.
His audience also is of great importance to his artmaking. When Zener first started creating artworks professionally he sold his artworks at cheap prices in order to “get them out there” in the art world, however now that his broad audience has promoted his works to a wider community, his art has become more desired. This has led to more frequent production of paintings, approximately 20 per year, which some see as the artist becoming commercialistic. As well as this Zener has started to paint commissioned works and raised his prices, and in result, narrowed his target audience to wealthy buyers. In interviews he has said that he misses being able to create artworks for a vast demographic as having wealthy people buying the works distantly, dims the romanticism of a purchase. He recognises that in the art world, lowering prices is unacceptable so he is unable to change his target audience. Zener says that he would like to distribute his works to anyone that wanted them because he believes “art belongs in people’s lives”.
And the waves keep rolling by
Eric Zener (2010)
Oil on canvas, 54 x 66"
STRUCTURAL FRAME
As Zener’s works are so aesthetically pleasing, the structural qualities of the work are valued very highly in each of his works. His work “And the waves keep rolling by” demonstrates this importance through its technical finesse. The painting features an underwater scene that consists of an isolated nude woman spanning the canvas, just beneath the water’s surface. Contrast is used through this artwork as the dark background allowing the figure with lighter coloured skin tones to stand out. This paired with the composition draws the eye directly to the figure.
Another significant aspect of this piece is the representation of light and shadow in an underwater scene. Though Zener has invented his own light patterns without referring to a photograph, the light’s patterns appear to be very realistic, which is a quality I hope to carry into my own creation.
SUBJECTIVE FRAME
At face value, some critics may believe that Zener’s paintings lack substance as they are all very similar, as Gayle Clemans worded it in the Seattle Times – “The process is always impressive. The results are always beautiful. For me, however, the meanings or implications are not always equally profound.” Beneath the surface, however, these paintings offer a deeper, more emotional reveal on Zener’s life.
When Zener first started to create professional works it was done therapeutically, as he was miserable at his department store job. His wife Julie mentions that he often creates works to calm him and said in an interview with Coastal Living that – “He did 16 paintings the month after Alexa was born”, Zener later commented on this statement saying that this incessant production was due to “provider anxiety”. The therapeutic use of painting can be identified through “As the waves keep rolling by” (page 7). This painting was created during a time when Zener’s works were becoming very popular, and his life was becoming busier with this increase in demand, as well as trying to manage work and taking care of his three children, one of which was still a baby.
It is suggested that this painting was used as a device to escape this frantic time through the underwater scene, as Zener sees going underwater as a way to make the world above disappear. The artist’s emotions can also be detected through the face of the subject, which is completely relaxed with eyes closed, another symbol of blocking the world out. Freedom is symbolised in this painting via the nudity of the figure which suggests an estrangement between the outside world and her. The composition also helps to illustrate this point as the figure is completely solitary, and the focus of the work. This provides for no distraction and other connections to the outside world again. The title itself suggests a metaphor for life in that no matter what chaos might be present in your life at that moment, it will always blow over.
I find these ideas very relatable as I too have used art as a medium of therapeutic expression. The concept that water is a refuge is the most prominent concept in my work and I plan on exhibiting it in a similar way to Zener, through calm facial expression, a simplified composition, underwater scene and a raw colour scheme.
As Zener’s works are so aesthetically pleasing, the structural qualities of the work are valued very highly in each of his works. His work “And the waves keep rolling by” demonstrates this importance through its technical finesse. The painting features an underwater scene that consists of an isolated nude woman spanning the canvas, just beneath the water’s surface. Contrast is used through this artwork as the dark background allowing the figure with lighter coloured skin tones to stand out. This paired with the composition draws the eye directly to the figure.
Another significant aspect of this piece is the representation of light and shadow in an underwater scene. Though Zener has invented his own light patterns without referring to a photograph, the light’s patterns appear to be very realistic, which is a quality I hope to carry into my own creation.
SUBJECTIVE FRAME
At face value, some critics may believe that Zener’s paintings lack substance as they are all very similar, as Gayle Clemans worded it in the Seattle Times – “The process is always impressive. The results are always beautiful. For me, however, the meanings or implications are not always equally profound.” Beneath the surface, however, these paintings offer a deeper, more emotional reveal on Zener’s life.
When Zener first started to create professional works it was done therapeutically, as he was miserable at his department store job. His wife Julie mentions that he often creates works to calm him and said in an interview with Coastal Living that – “He did 16 paintings the month after Alexa was born”, Zener later commented on this statement saying that this incessant production was due to “provider anxiety”. The therapeutic use of painting can be identified through “As the waves keep rolling by” (page 7). This painting was created during a time when Zener’s works were becoming very popular, and his life was becoming busier with this increase in demand, as well as trying to manage work and taking care of his three children, one of which was still a baby.
It is suggested that this painting was used as a device to escape this frantic time through the underwater scene, as Zener sees going underwater as a way to make the world above disappear. The artist’s emotions can also be detected through the face of the subject, which is completely relaxed with eyes closed, another symbol of blocking the world out. Freedom is symbolised in this painting via the nudity of the figure which suggests an estrangement between the outside world and her. The composition also helps to illustrate this point as the figure is completely solitary, and the focus of the work. This provides for no distraction and other connections to the outside world again. The title itself suggests a metaphor for life in that no matter what chaos might be present in your life at that moment, it will always blow over.
I find these ideas very relatable as I too have used art as a medium of therapeutic expression. The concept that water is a refuge is the most prominent concept in my work and I plan on exhibiting it in a similar way to Zener, through calm facial expression, a simplified composition, underwater scene and a raw colour scheme.
Adrift
Eric Zener (2007)
Oil on canvas, 30 x 40"
SUBJECTIVE FRAME
Zener expresses emotion through his work, “Adrift”, in a similar fashion to the way it is depicted in “And the waves keep rolling by”. Feelings of relief are suggested in this piece through the facial expression which is relaxed and featuring closed eyes. The piece also features an element of calmness through the representation of still water, depicted by minimal air bubbles and smooth surfaces. I like the lack of distortion and serenity that the depiction of still water provides and would like to use it in my own art.
The close shot used in this painting also creates a certain intimacy between the audience and the subject, as well as providing the audience with a closer look at the detail of especially the lighting underwater. This has inspired me to use a relatively close-up shot in my own work.
The notion of losing contact with the world when you go underwater is reiterated through this piece through the portrayal of the woman just becoming submerged, and immediately expressing the feeling of escape.
STRUCTURAL FRAME
Zener’s technical expertise is demonstrated again in one of his works – “Adrift” (page 9). The piece portrays a close underwater shot of a woman’s head and shoulders just below the surface of the water. Zener’s painting talent is showcased in this piece through the water reflection in the top half of the painting, water reflections such as these prove highly difficult to portray, especially in Zener’s case as he has not relied on a photograph to paint these reflections. Though I admire the way that he has managed to create such a realistic reflection, and believe that the water’s surface is a very significant part of this piece, I will not be attempting that particular angle for my work, as I want to refrain from the distortion, and instead include my figure fully submerged.
The raw colour scheme of skin tones and various blue tones is an equally important part of “Adrift”. The blues contrast well with the skin tones and provide a natural element to the piece. This colour scheme intrigues me and will be something I include in my finished work. Arguably the strongest attraction of the painting is the realistic qualities, as the portrayal of the figure, light and water is extremely accurate, and described as photorealistic. The subtle blending of tones as well as the precise documentation of light is spectacular and adds to the theme of water cleansing us and removing us from the outside world, as it shows who we truly are under the surface. Without this realistic style, the point would not be depicted as clearly, so this characteristic of his paintings have now proven to be an essentiality in conveying his ideas. For similar reasons, I have decided to incorporate a realistic style of painting into my own painting.
Zener often uses large canvases; in the circumstance of “Adrift” it is 30 x 40 inches. The size of the canvas adds to the grandeur and awe of this piece, and without a large canvas, the work wouldn’t have the same effect. Zener has chosen to use oil paints in his works as he likes the finish they have, the translucency and the way that they portray light and reflections. Though oil paints would have a nice effect with this type of painting, I have chosen to use acrylics in mine.
CESAR BIOJO
CONCEPTUAL PRACTICE
Cesar Biojo is a Colombian artist who is renowned for his beautiful paintings that have been destroyed through the addition or removal of paint. These artworks were all created in a study of human beings, as Biojo stated – “existentialism powers all my works”. Aspects of human life such as creation and destruction are explored through his works through the creation of a beautiful artwork, and then the destruction of it. Through this particular technique Biojo presents the effects of both creation and destruction and suggests that they can work together well. Biojo explains it as a “controlled result of multiple accidents; the coexistence of two opposites: creation and destruction”.
Another idea explored by the artist is the fragility and ephemerality of human life. This is explored through the warped image created by the painted distortion that invokes a sense of time going by and rush. Ephemerality is also explored through the creation of a perfect artwork being abruptly damaged by the destructive processes that Biojo participates in. This can be interpreted as a metaphor for life’s brittleness.
Within the study of human beings, 5 Pieces Gallery mentions that Biojo “explores the hidden emotions that lie behind the eyes”. Symbolism of this can be found in his works through the destructive distortion which can be seen as something that is damaging the subject without anyone knowing, as the subject’s facial features do not reveal that they are suffering from these hidden emotions. An online art gallery, Saatchi Art, clarified this by saying that Biojo’s work “focuses on the emotions that we consider ‘negative’ in our moral system, since, he believes, they confront our human nature”.
I find his concepts compelling, however they will not be incorporated into my major work as it would not be conveyed properly with my choice of composition and visual substance, so therefore not what I intend to focus my artwork on.
Cesar Biojo is a Colombian artist who is renowned for his beautiful paintings that have been destroyed through the addition or removal of paint. These artworks were all created in a study of human beings, as Biojo stated – “existentialism powers all my works”. Aspects of human life such as creation and destruction are explored through his works through the creation of a beautiful artwork, and then the destruction of it. Through this particular technique Biojo presents the effects of both creation and destruction and suggests that they can work together well. Biojo explains it as a “controlled result of multiple accidents; the coexistence of two opposites: creation and destruction”.
Another idea explored by the artist is the fragility and ephemerality of human life. This is explored through the warped image created by the painted distortion that invokes a sense of time going by and rush. Ephemerality is also explored through the creation of a perfect artwork being abruptly damaged by the destructive processes that Biojo participates in. This can be interpreted as a metaphor for life’s brittleness.
Within the study of human beings, 5 Pieces Gallery mentions that Biojo “explores the hidden emotions that lie behind the eyes”. Symbolism of this can be found in his works through the destructive distortion which can be seen as something that is damaging the subject without anyone knowing, as the subject’s facial features do not reveal that they are suffering from these hidden emotions. An online art gallery, Saatchi Art, clarified this by saying that Biojo’s work “focuses on the emotions that we consider ‘negative’ in our moral system, since, he believes, they confront our human nature”.
I find his concepts compelling, however they will not be incorporated into my major work as it would not be conveyed properly with my choice of composition and visual substance, so therefore not what I intend to focus my artwork on.
MATERIAL PRACTICE
Cesar Biojo’s material practice is one that is quite uncommon among contemporary artists. His process consists of him painting a figure realistically and once the subject reaches what he believes to be perfection, he destroys the work by adding extra paint over the top of the original painting, or by scraping paint off with a spatula.
Though this technique provides a new warped image, the original is still visible and realistic. I admire the way that after this alteration the subject is still recognisable and will attempt to maintain realistic qualities of the subject of my piece after the distortion that comes with it being underwater. Biojo predominantly works with only skin tones but occasionally includes sections of bright colours thrown onto his works with a certain disregard. He has inspired my interest in skin tones for my own work through his incredible choice of colour and finesse with blending tones and depicting shadows. This is the primary reason for why I will be using skin tones in my artwork.
CONCEPTUAL FRAMEWORK
The relationship between Biojo and the world, his artworks and his audience plays a large role in his artmaking practice, however the world around him and his relationship and philosophy associated with it, debatably has the largest impact on his artworks. On a smaller scale, Biojo’s graduation from Florida State University in art history and fine arts has broadened his knowledge of art, and from this exposure to many different artists in history, has impacted his own artmaking practice. For example it can be deduced that Biojo has studied the works of Modernist artists such as Marcel Duchamp and Robert Rauschenberg through his destructive nature with his works and the way that he dismisses the traditional standards of art. After then gaining a PhD. In Art Research, this further deepened this knowledge and improved his artistic skills. Since I want to accomplish a serene artwork, I will not add any destructive elements to my piece, however I will look towards Modernist artists such as Duchamp and Rauschenberg as I believe they can offer interesting ideas on how to intrigue a target audience, and create something that hasn’t been done before.
Though his achievements at University did have a significant influence on his artmaking, and even stronger influence would be his outlook on life and his interpretations about the nature of humans, their emotions and conflicts. This sole concept is continually projected through his artworks through the reckless removal and addition of paint as mentioned earlier. I may not include this specific philosophy about human beings, and this focus on negative emotions, but I do intend on including a deeper gaze into human emotions. This will be explored principally through the underwater scene in my work, which will present the human connection between being underwater and feeling relief.
Cesar Biojo’s material practice is one that is quite uncommon among contemporary artists. His process consists of him painting a figure realistically and once the subject reaches what he believes to be perfection, he destroys the work by adding extra paint over the top of the original painting, or by scraping paint off with a spatula.
Though this technique provides a new warped image, the original is still visible and realistic. I admire the way that after this alteration the subject is still recognisable and will attempt to maintain realistic qualities of the subject of my piece after the distortion that comes with it being underwater. Biojo predominantly works with only skin tones but occasionally includes sections of bright colours thrown onto his works with a certain disregard. He has inspired my interest in skin tones for my own work through his incredible choice of colour and finesse with blending tones and depicting shadows. This is the primary reason for why I will be using skin tones in my artwork.
CONCEPTUAL FRAMEWORK
The relationship between Biojo and the world, his artworks and his audience plays a large role in his artmaking practice, however the world around him and his relationship and philosophy associated with it, debatably has the largest impact on his artworks. On a smaller scale, Biojo’s graduation from Florida State University in art history and fine arts has broadened his knowledge of art, and from this exposure to many different artists in history, has impacted his own artmaking practice. For example it can be deduced that Biojo has studied the works of Modernist artists such as Marcel Duchamp and Robert Rauschenberg through his destructive nature with his works and the way that he dismisses the traditional standards of art. After then gaining a PhD. In Art Research, this further deepened this knowledge and improved his artistic skills. Since I want to accomplish a serene artwork, I will not add any destructive elements to my piece, however I will look towards Modernist artists such as Duchamp and Rauschenberg as I believe they can offer interesting ideas on how to intrigue a target audience, and create something that hasn’t been done before.
Though his achievements at University did have a significant influence on his artmaking, and even stronger influence would be his outlook on life and his interpretations about the nature of humans, their emotions and conflicts. This sole concept is continually projected through his artworks through the reckless removal and addition of paint as mentioned earlier. I may not include this specific philosophy about human beings, and this focus on negative emotions, but I do intend on including a deeper gaze into human emotions. This will be explored principally through the underwater scene in my work, which will present the human connection between being underwater and feeling relief.