WET PAINTING SERIES
Tomas Esson WET DRAWING & WET PAINTING SERIES
The series were entitled WET DRAWINGS & WET PAINTINGS in clear allusion to its sexual content and to the recurrent motif of infinite compositions structured within a Wet Erotic Network. The series accentuates the technical aspects of wetness through the visual depiction while the paint was still wet. This technique gives the work a formal freshness and spontaneity that becomes apparent once the paint is dry.
During the first two years of the series, I was using a reiterative element in the compositions, a module of ambiguous sexual characteristics. This was the product of years of constant artistic manipulation of the TALISMAN, a very personal, spiritual and visual element that pervaded my work for several years.
In November of 1997, the erstwhile series is broken when its ever changing sexually ambiguous module is replaced by another one with clearly human characteristics. This new module incorporates the Five Fundamental Elements of Human Life: the Vagina, the Breast, the Mouth, the Anus, and the Penis. I named this new module TALIS, 1997.
the process of reiterating choreographed variations of the TALIS within
the Wet Erotic Network interest's me very much, as it allows for multiple
interventions of the subject in different actions and directions that
accentuate the fundamental aspect of its
The visually innovative aspect of this new module lies in the visual results coming from a language of orgiastic interconnections in which the main actors are our most essential organs with these characteristics: female organs (the Vagina, the Breasts), male organs (the Penis) and the organs of both sexes (the Mouth and the Anus) interconnected in a perfect balance and with an equal degree of importance.
The egalitarian participation of the TALIS within the Wet Erotic Network gives me, philosophically and formally, an abundance of pictorial and artistic ideas of infinite possibilities.
Tomas Esson RETRATO SERIES
The RETRATO -Portrait- Series covers my first oil paintings in a large format which I began early on my career, when I was an art student in Cuba. The first few paintings in this series received a positive critical reception in the specialized press.
This series uses figuration as a means to continue my incorporation into the rich tradition of Portraits, which has dominated western art for centuries. However, the series generates a different iconography in which hitherto unknown images organically emerge from inside of me perhaps as a reaction to twelve years of formal studies in three different art academies where I had to learn Art History and the different techniques for drawing and painting the naked human body.
During those twelve years of study I was immersed in the search for a personal style. This search was influenced by a conceptual and formal exhaustion brought about by years of constant academic studies of the female body until I was able to have a complete dominion of the subject. In that regard I am convinced that academic rigor affected the basic structure of my way of thinking, helping create a first group of unusual figures of a monstrous appearance.
This first series of figures was initially conceived in a large format in order to emphasize the communication and visual impact between the viewer and the human scale of the hairy monster that populated my work; monsters that were always spitting or emanating different body fluids from their erogenous zones. Moreover, the grotesque figures were contrasted even more by its placement in front of a flat background of pastel colors.
The monsters in this series have an ambiguous and grotesque sexual appearance, are predominantly alone, without a clear context and or in an indeterminate time period. Their specific anatomic composition is emphasized by the free manipulation of the hairy areas of their bodies, showing and many times exaggerating their sexual and erotic attributes.
The iconography that feeds the Portrait Series has continued developing throughout the years -all the way to the present- and has grown in parallel with the development of other different series.
Tomás Esson 2009