Ink on Stonehenge archival linen. Framed with raw Maple.
24.75" x 20.25" (framed)
Shipping cost: $200.00
I approach my work with spontaneity, quickness, and—when I chance upon it—wit. The emotion or atmosphere of the day influences the work. I consider the resulting images to be a story of myself.
When painting I often ask myself these questions - Am I telling the same story over and over? Am I telling new stories? I have not figured it out exactly. What I know, for now, is that my works are both simply and not so simply works of myself- as meaningless and meaningful as any emotion can be when rendered as an image.
My process often begins with a familiar image. It's a way for me to warm up to the page. I find myself coming back, again and again, to the image of a shrimp. The image bears a sentiment for me, a “meaning” that has lingered. However, if pressed to express that meaning in words—or even the meaning’s origin—I could do nothing but point back to the image. The shrimp is a trope, a touchstone, a familiar grip from which my work can expand. Because my process is often very fast, I paint my way through a vast number of emotional landscapes. At the end of a day, I can sift through the pile of images, swift as a river, and see what catches my eye. But it is the subconscious mind that is in control; it is the subconscious mind that has recorded and understood everything I have done in my life. Vigilant for a glimpse of meaning, this process of selection is a bit like panning for gold: the process is rote—the constant sifting and sorting through the mud—but I might uncover something that shines.
This fluidity, this flow, is essential to my work—and the mediums I choose to employ are derivative of that fluid nature. Paint is one, though there are many others. I can press on charcoal, ink, motor oil, dirt, blood, or urine—anything that will readily flow—and, through experimentation, produce new colors and images. These mediums help to keep me astray from convention, which is where I’d like to be. When one is astray, he is situated of outside convention, which allows him to view the inside as well—though, admittedly, from a different perspective. Sometimes I like the view inside and sometimes I like the view outside, but it is when I feel astray that I can allow my attention, my perspective, to drift.
When I begin a new work, I begin with the medium. Some artists collect images—and I do reference photographs on occasion—though more often than not, I do not know what will emerge. The unknown is rooted in the nature of any experiment, and I am deeply interested in experimentation: how burnt paper or dirt can produce an unexpected image. In the end, these images might present a reflection of myself, though that reflection is not necessarily a narrative or even my own emotion. Instead, the image might reflect a plant, a body, or a memory outside of myself that, because I notice it, becomes part of me through the act of my noticing.
I consider a piece to be complete when the lines, shapes, and figures are placed as I see them in nature—like a sleeping child or a tree. In nature, lines are not confirmed, not straight. When a tree (or a child) is growing, it doesn’t grow straight up or down. It grows exactly how it wants to grow: all over. I ultimately want my work to arise from natural instinct, from what is going on inside of me in relation to the outside. That instinct is the flow I am trying to capture- our subconscious, our second nature. Though when someone else looks at my work, they are seeing a part of their story, not mine—which seems to me an utterly natural end.
As a self-taught artist I have found a new vocabulary for life.
My work is a reflection of the world around me, the moments of opposition and fluidity. I was born and raised in New Orleans and find that my culture and identity plays an important role in my artistic pursuit. Currently I live and work in the vibrant Marigny neighborhood of New Orleans. With my new passion for painting and drawing I have created copious amounts of art and am currently represented by Guy Lyman Fine Arts, New Orleans. My works can be found in over a dozen private collections and several were recently acquired by the L.S.U. University Medical Center public collections.
I have been included in the following group exhibitions and solo shows around the city.
2014. Stop Crying Hallbarnett
2014. Line + Form Guy Lyman Fine Arts
2015. Tribal Guy Layman Fine Arts
Leroy Miranda Jr. is a New Orleans artist living and working in the Marigny neighborhood.
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