Pete Nawara - Artist
Pete Nawara is from Chicago Illinos in the USA. He has been painting since 2005, you can check his website at www.petenawara.com and his blog. www.petenawara.com/blog He describes his work as work as figurative with a pop-art feel.
Interests you have other than art you feel are important to mention? I’m very intersted in Film, Music, & Illustration. I’m currently working on a script for a western film and illustrating a children’s book the I’m writing with the help of a good friend.
What are the main medium/s you work in… I generally work in acrylic with other mediums finding their way in. Gold leaf often makes an appearance. I like to be flexible with my materials, but not without making sure they are long lasting and used correctly.
Man in a Houndstooth Suit
[A Portrait of Nolan Farrell]
Acrylic on Canvas
64 x 52 Inches (162 x 132 cm)
Artist’s statement…
a. As an artist, I often find myself reading artists statements of various kinds. Time and again, these writings consist of endless babble about what the artist thinks the viewer is interested in knowing about the work. Usually, the artist is completely wrong about what these things are. I do not claim to be any different. In my original writings for this document, I will admit that I did my fair share of babbling, mostly about my concerns of the art world, i.e. Conceptual Art.
b. I have found myself in too many museums, completely bewildered by what artists are trying to say, and most of the time, completely disgusted by what they are getting away with. Don’t get me wrong, I am aware of the important impact conceptual art had on art history, but the statements people are making today are commonly irrelevant to society, or if they do hold any significance, it is completely lost on the general public. This isn’t even the worse part. Usually, it doesn’t even look good.
c. I strive to make objects that are aesthetically pleasing. This, first and foremost, is my goal. I want to make a material thing that can be appreciated visually regardless of the viewer’s art education. Why should someone need an art degree to understand or feel a connection with a piece of art. I feel that my place in the art world is a struggle against just that.
d. With the use of color and composition I attempt to create a visual landscape that allows the viewer to tirelessly view the work. Whether it’s a portrait, an abstract piece, something illustrative, a landscape, or a figurative piece, my primary focus is to assemble a combination of qualities, such as shape, color, and form, that pleases the aesthetic senses. Any conceptual message is inserted as a secondary device, usually for my own amusement.
A Portrait of Robert Schultz
Acrylic on Canvas
65? x 63?
165cm x 160cm
2008
Does your work have social, political, cultural and or personal messages?
a. It’s about how we see ourselves. What aesthetic ideal do we hold when we’re observing ourselves, or just people in general? How would we look to someone if we were to display all our vanities for the world to see? How does our reflection relate to us? When viewing ourselves, there are certain imperfections that we are more aware of than an outside viewer might be. Isn’t it like that when artists look at their own work?
b. As humans, we have a certain obsession with reflections, and with seeing ourselves. Look at the world around us. How many mirrors do you see when walking down the street, in a hotel, or in someone’s home. People are constantly sneaking a peek at how they look in their new jeans by catching their reflection in the shop windows. In our cars, we have a rear view mirror and two side mirrors, but for some reason we still find a necessity to have a vanity mirror, often on both the driver’s side and the passenger’s side. The thought of a ‘vanity mirror’ to begin with is a funny concept. We look at ourselves in the reflections of car and bus windows. When we’re on the train, we use the windows to look at ourselves and other people. We are obsessed with the way people look.
What are you currently working on?
I’m currently working on a series of paintings that investigates the ideals of visual aesthetics in the western world titled ‘A Recipe for Beauty’.
How did you get into art?
One thing that I remember in detail was the first time I set foot into the art department of the school I transfered to in the 4th grade. It was the first time I had been to any art department, and it was amazing. My previous school had art classes which involved construction paper and Elmer’s Glue. This place had a metal shop, a wood shop, and some serious assignments. I really found my place here. I didn’t really fit in anywhere else, but once I set foot in the art room, I was on top of my game. One of our first assignments was to put on an entire puppet show, from the ground up.
I remember feeling that I should be officially in charge of the puppet design, a responsibility which I took with the air of an evil dictator. I was eventually put into detention for fighting with another student over the fabric to be used for alligators, and how naturally it should be plaid.
The puppet show was a smashing success, and although the thoughts of being an artist weren’t fully developed, the thoughts of being a professional puppet maker were very strong. I’m pretty sure that alligator still exists somewhere. He was beautiful, plaid, and some of my best work. My Pinocchio, if you will.
St. Anna
Mixed Media on Canvas – 2005
Sold – Private Collection – Paris, France
Was your education helpful, or a hindrance?
I feel incredibly fortunate that I was able to be exposed to the education I received. I would say it had a great influence on the artist I am today and I would not change it in any way.
Is there any one thing that has given you a big buzz in your art career so far? (Seeing your work in a particular collection etc…)
I was hired by a company to do live paintings touring the country with different rock bands for about two months. I was incredibly nervous at first, but my talents were received well and I gained an incredible confidence in my abilities.
St. Peter
Mixed Media on Canvas – 2004
Sold – Private Collection – Hawaii
What or who inspires your art?
People inspire me. Everyday people. I’ve always had this ‘dream’ of having a giant studio out in the middle of nowhere. A place that I could delve into my work with no distractions and no interruptions. No people knocking on the studio door or keeping me from my paints with half-hour chit-chats and small talk. I also quickly realised that this concept is not a possiblity for me. I thrive on social activity and being constant surrounded by people. I study them. I eavesdrop on their conversations while I’m at the cafe. I watch them waiting for busses or trying to fight their way to a crowded bar.
I have trouble going out and not meeting new people. I’m a social creature and these social encounters are very important to my work. Without them I’m afraid of what I might end up creating, and I’m sure it would be dull and lifeless.
What can you tell us about your planning and making process for making art, and has that altered over the years?
The physical process starts with the camera. A subject is chosen and asked to pose. The camera is set on a tripod and the subject is asked to pretend the camera is a mirror, and that they are ‘checking themselves out’. Several photos are taken and then transferred into the computer for digital modifications. The photos are then touched up and arranged in a composition. Then, using vector tools, they are traced into shapes of color. Once they have been ‘vectorized’, they are printed in grayscale. The printed piece is then projected onto canvas and the piece is traced loosely. The shapes are then filled in with acrylic paint thinned with water, and gouache markers. Lastly, gold leaf is applied.
Some say the lifespan of many “artists” post educationally is about five years, any thoughts on that?
“ Some say the lifespan of many “artists” post educationally is about five years.” Wow. That’s frightening. I graduated in May of 2005, so ask me in a couple of months about this. I’m pretty confident I’ll still be painting though.
Vintage Sunglasses
Acrylic, Silver and Gold Leaf on Canvas
52? x 60?
132cm x 152cm
2008
If you could have any piece of artwork in your personal collection, what would it be and why?
If I could have any piece of artwork in my personal collection, I’m pretty sure I’d grab a Lichtenstein. Probably one of his large scale abstract pieces. Maybe something straight out of the Chicago Art Institute’s Modern Wing. I went to the modern wing with my Cousin’s and had a good long look at some of those Lichtensteins there. I was really impressed.
Of course the answer to this question could be different almost any day of the week. I’m almost always tempted to become a thief when I see any of Eric Fischl’s work.
What happens to works that “don’t work out”?
Gesso happens.
Black Keys - Dallas / Ft. Worth - The Ridglea - June 19th
Live Painting
60 x 60″
2007
Do you hope the viewer will “get” what you are trying to communicate or do you feel compelled to spell it out to them?
Neither. When I produce a painting, I hope that the viewer will be visually stimulated. I want to reach them in an aesthetic way. Anything I’m attempting to communicate beyond that is purely secondary and supportive of that aesthetic idea.
Have you had much connection post sale with purchasers of your works?
I try and keep in touch with everyone I sell to. It’s important to me to make sure they are still happy with the piece in days to come. If there’s a problem with the piece , I want to be available to help. Sometimes paintings are scuffed or damaged in moves. I’ve had my fair share of repair requests. I’m happy to do it, because that work represents me, therefore it’s condition does as well.
Is your work process fast or slow?
The time it takes me to complete a painting is very dependent on circumstance. I often do ‘Live Painting’ in which pieces are completed in as quick as 4 hours. On the other hand, I have paintings in my studio which I started in 2005 and have still not completed.
Art as a therapeutic device; do you think it is useful for this purpose and is your work in this category somehow?
I would discourage anyone serious about the arts to consider their work a therapeutic exercise.
Do you aim to make “masterpieces” with the aim of being seen in the future as an artist that really made their mark in art history?
When I produce a painting, I consider it an object. It’s just a piece of material with paint on it. It’s not ‘Art’. It’s an object. That being said, I do try to create objects that will easily outlive me.
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Compiled and edited by Steve Gray © 2009+
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Saw you on LinkedIn and you have a great blog - very informative and interesting.
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