“I grew up with film, video games, and comic books as the primary source of my visual memory. While some of them have stood the test of time and have been considered classics of the genre or the medium, a lot of it was really just capital L Low art. It wasn’t until I started taking my education seriously, studying in Florence and going to graduate school here in New York that I started to see parallels between this kind of high art, historical influences
And how they run with the influence of many low art genres.
This is Roy’s work on the landmark, and the artist did announce himself and his talents shortly afterwards. Works such as “Breakup Steel Dream” and “We Make Our Meridians” are not only more skilled than earlier works, but also carefully balanced works and higher knacks for manipulating the audience’s eyes. They also began to climb out of Roy’s melting pot of “visual memory” and put down their own strange aesthetic areas, one with similar traps but with new, super-industrial renderings of traditional landscape paintings. Roy’s work shows how technological advances and indexes in urban infrastructure are how the Earth’s surface and human minds are reshaping. This work is becoming more and more present. This is metaphysical science fiction.
Roy was still able to reconcile European art history with American Cinema while growing up as an artist. Roy is old in his 2014 artist statement at his solo exhibition in Copenhagen in Copenhagen, Roy explains: “In the influences of these films and genres, such as fantasy, science fiction, science fiction, post-apocalyptic things, there are stories or desires to explore the human condition that is not exactly the same as those people, if not as Western, that is different, that is a thousand years like that, that is the fact of those people. But, while the inevitable commonality is inevitable, the new I am old actually represents a continuation of Roy’s major transformation, which Roy began with the pseudo-self mastery he began to show in 2011 and was shown in the 2012 Terraformer.
I read somewhere that Francisco Goya’s “Colossus” paintings influenced some of Roy’s recent works and wanted to ask if his call was accurate. I did it, no chance. Roy’s speech style did not have any problems with the expected future, making them obsolete. His answer revolves around a question, taking an elliptical orbit covering tangentially related topics before returning to the territory originally asked. In this way, he touched Goya. “The Colossus that appears in all these works starts as a callback to Goya’s ‘Giant’.”
My senses tell me one thing, culture tells me something different, and investigation into the nature of reality tells me the third thing. ”
“He used that colossus as a symbol of the unknown horror and the seemingly infinite bay at the other end of the horizon. [The paintings] It was done by an artist who saw a lot of violence and a lot of political and social unrest, [including] France invaded Spain. The scariest thing we can imagine is that the authoritative figures roll in the landscape and cheer up a powerless life. I want to re-identify a very modern set of anxieties about the identity of the Colossus. I included this huge dystopian figure initially a little, a symbol of the horror of unknown and violent unrest, and more of a [expression of] Trying to reconcile the conflict between the world we are building and the world we are destroying. “The best way to read Roy’s occupation of Goya is to look at the “Colossus”, which is frustrating
Walking with it, “giant”. The former shows awesome power, threatening, contradiction; the latter’s profound inner distraction, his face is distorted by his own contour, and his mind collapses under its omnipotent weight. Roy is fascinated by a modernized version of the same paradox: humans have the incredible ability to reshape the world through technological advancements, but has this made us change us and left us invisible to the consequences of this creative destruction?
Works from the new ME are already old, such as “Rain” and “Ranking in All Directions” with direct aesthetic appeal – the theme is vivid, bright tones, and organic, almost original vibrant. But the deeper conspiracy lies in their philosophical basis. These men have polyhedral, faceless busts and mirror fragments of faces. (Roy told me that the geometry that appears from the head of the subject in “Rain” is Amplituhedron, a multidimensional structure used in quantum physics. As Roy said in his artist statement: “There is a way to cut off the chances of characters entering the world – for me it’s a flip point, it’s a mask where you can’t see the face, but more importantly, none of these characters can’t see it.”
In fact, it’s more complicated than that. At this particular stage of his career, Roy was fascinated by the fragmentary nature of perception, its limitations and desires. “I introduce the world through the senses and then have these expectations in metaphysical narrative [is] As you grow and grow, show you…and then there is the world actually there, three of which sometimes overlap, but usually nothing to do with. That series of paintings [The New Me Is Already Old] It is an attempt to be in an autobiography, that is, my senses tell me one thing, culture tells me something different, and the investigation of the essence of reality tells me the third thing. “Cognition, neuropsychology, epistemology – This is far from the fanatical inspiration of summer blockbusters and American cinemas, but if Roy and his work convinced anything about you, it is that the higher and lower, science and art, perception and reality can all find its connection, only you can find its point.
His recent work and current focus on his way of thinking is a further exploration of perception, but also seems to be eager to move towards a unified theory of science, art and quantum reality. For example, “The Democratic Party after Giordano” refers to the ancient Greek philosopher who praised it in the form of atomic theory, while the seventeenth-century artist portrayed his famous portrait. Roy calls it “non-time and space” (non-time and space), which is “the Democratic Party after the Diklias”, an object outside of time and space. This is a suitable substance for a painting, whose title is dedicated to its existence two thousand years after his death. It seems mysterious, and it is perfect for artists who gaze directly at the artist by removing seemingly fixed boundaries or in some cases. *******.
This article first appeared in the cover feature in Hi-Fructose Issue 37, which has been sold out for a long time. Like what do we do? Get the latest issue here as part of a new subscription to our print magazine. Thanks!
