Biomorphic Thought Anatomy
This series explores how thoughts can be perceived in biomorphic forms, allowing them to develop their own anatomy and life. Lines, colour, and intricate details blend with cell-like forms, illustrating the relationship between my thoughts and my interpretations of emotions arising from both internal and external factors. Chaotic structures and layers serve as the primary insight, reflecting the alterations within my mind shaped by the external forces surrounding us during this period of change and transition. One of the main forces provoking these alterations is technology, whose impact feels so powerful that I conceive of it as a mutation of the biological core of my emotions and thoughts.
Following a year of doodling, sketching, and illustrating, I decided to jump into my first painting series, Biomorphic Thought Anatomy. The series is developed through the use of mixed media, including acrylic, spray paint, pins, micro pens, currencies, wallpaper, newspapers, spikes, and, primarily, oil paint.
Lines are intended to evoke a feeling of imprisonment created by the morals and values imposed on us by society in the 21st century. This aesthetic is commonly found in wallpaper, clothing, and other decorative elements popular among certain groups who tend to value elitism and the portrayal of a quiet yet sophisticated and elegant appearance.
The pattern became fashionable in European bourgeois interiors, where it aligned with the Neoclassical taste of the era. Regardless of their status, those who embrace this aesthetic may not perceive how the pattern can symbolically reflect the ways in which their lifestyles and morals imprison them, much like the stereotypical striped prison clothing of the 20th century.
In my art, this “elitist” representation is not limited to a capitalistic term; it extends to aspects that may be used to create a sense of superiority in the form of hierarchies: political values, ethnicity, origins and family, beauty, physical attributes, social media influence, generational wealth, nepotism, art, lgbtq community, and knowledge.
The use of color is intended to amplify the visualization of my emotional state during the creation of and reflection on each piece. Stereotypically feminine colors, such as pink and purple, are present in most of the artworks, highlighting the conflict between the mixed-gender thoughts that constantly cross my mind. On the other hand, darker colors, such as different shades of blue, carry the opposite intention in terms of both gender representation and self-expansion.
Shades of green are a recurring presence throughout all the pieces, whether blended into the compositions or represented through lines and rays. They symbolize the presence of cannabis within these reflections, which may alter the work by either extending or blocking imaginary limits.
— JSV
Overpopustimulation
How will an individual, a product, or an idea get noticed and appreciated over this overpopulated mess that we got ourselves into? How will someone or something not feel replaceable when there are millions just like him? In the big spectrum, everything is a big monotonous mess; just when you look closer, you start realising what each option represents and how everything bonds together to create the cities and societal structure we have built up. It is not overpopulation that builds the chaos but what each of us has expressed. This idea is reflected through small doodles of cities that create a big mess; only when you look closer are you able to appreciate that each miniature detail in the doodles have their own light and personality. - JSV
Doodles
Collections of doodles observing memories and life journal. — JSV
