“what we do in life echo’s in eternity”

“what we do in life echo’s in eternity”

“What we do in life echo’s in eternity”

“what we do in life echo’s in eternity”

I aim to capture every essence of light in painting through my paint brush.
My paintings represent the human life style from different part of world. In addition, I express the emotions and feelings of a subject through the application of light effects in the painting. Usually, my light sources for the subject in paintings are light from candle, fireworks, electric lights, sunlight, neon lights and etc.
Most of my paintings are subjected to portraits, cityscape and human figure which are painted through Water Color media.  I have always discovered joy in rendering every small detail of light effects and creating contrast with mere colors in paintings.
Through the light effects on my paintings, I cannot only depict the emotions like joy, celebration, patience, hope, rush, sorrow and worries pertinent in human life, but also project my own feeling and state of mind.   This, to me, is the most important thing I have realized so far. It is amazing how I can amalgamate the details of my own inner self with the nuances of the subject’s expression created by effect of light.
Arjoon KC

This series of works reveals my Chinese sensibilities in my approach to contemporary Western abstraction. My paintings hover between nature and abstraction, occasionally slipping into the reminiscence of a Chinese landscape.

Visual inspiration came from the ebb and flow of tides, calm pools, stormy seas, and the aftermath of rain.

Color in my work is energetic and emotional.  Fascinated with figure and face, the layers of color in my work are representative of the many depths and layers – both physical and emotional – of each portrait subject.  I am heavily inspired by everyday people.  It may be their culture, life story, or simple facial expression that inspires my next painting.  When I start a painting, I never quite know what the exact outcome will be.  Throughout the painting process, I am constantly making decisions and changes to the details, textural quality and color choices on the canvas.  In creating larger-than-life, colorful paintings, it is my goal to provide the viewer with more than a “portrait”, but a visually pleasing piece full of energy and relatable stories.

“Damaged People” is a series of 6 installations (out of which I’ve selected the top 3) created between January-March of 2011, in Cluj-Napoca, Romania, respectively Wroclaw, Poland.
The artworks presented include close friends and well-known models.
I chose models in contrast to relatively unknown people because anybody can be famous, anybody can be damaged, no matter how good their life is.
The five characters represented have a strong, even contagious sexuality, as they are a result of our modern society, which inevitably revolves around sex.
Through these works I am questioning who and what we perceive as damaged, because apparently it may happen to anyone, regardless of background or current situation, and whether or not they’re actually damaged, or we just choose to question this based on what we think happens inside them.
People transform their bodies in sync with what they’re going through inside. When they exceed socially-accepted limits, they become damaged in the eyes of others, but also interesting to a few who are open-minded.
The artworks question making yourself accepted in a society that sees you as (mentally) damaged: being borderline anorexic, having most of your body covered with tattoos, visually exposing what you believe in, trying to be something you’re not, or maybe trying to show people what you really are and, because of this excessive sincerity, people reject you.
Regarding the installation itself, the need for branches is supported by wanting to project the inner self of my models outside of the canvas in an expansive and interactive way. I am trying to express the rebirth of a generation, of something new, and I want the public to take part in it by feeling a strong connection to the artworks presented, to the fact that they break the barrier between what’s depicted in two dimensions and what people see as their three-dimensional continuity.
The technique used, a loosely realistic charcoal drawing on canvas, is in opposition to the raw branches, and the characters’ interaction with them suggest borderline reality, questioning what we perceive as real (the drawings or their 3d projection and continuity).