Joseph Ventura

"Along with the study of anatomy, what better way to learn about the characteristics and capacity for expression of the human body than to engage my own?"
  
Joseph Ventura's methodical rendering capabilities allow him to materialize his curiosities with physical phenomena. His figures emit the energies of the body and reveal the mechanisms on which they function. By successfully capturing light, he is able to accurately translate the properties of material into an impressive 2-D state.

GE: What are the most important elements to keep in mind when painting in a hyper-realistic manner?

Anna, Oil on Panel. 2011

JV: The single most important thing one must keep in mind at all times is LIGHT. Light is largely the means by which we experience reality, so when creating a believable representation of reality understanding its behavior is essential. A painter must examine the subject and describe how it is receiving light (with value and color). Light follows the same laws everywhere in the universe, so if it is interpreted consistently then the painting will be consistent with reality. (An artist should constantly be curious about light in everyday life! Look at how objects reflect light, identify the light sources, cast shadows vs. form shadows, etc. Always ask yourself, “how would I paint that?” Also, the ability to create a realistic illusion from imagination can come only from this practice.) 

The next super-important thing is understanding your materials. It seems obvious but oil painting has a long and rich history, and there are tons of different types of paints, chemicals and brushes, many which did not exist before the last 100 years. I find that looking at technique and the proper use of materials from a historical point of view is extremely helpful when painting realistically. A fantastic book for this is The Materials of the Artist by Max Doerner. 

The point is: painting realistically is an intellectual endeavor. A painter is translating a 3-dimensional object or space into a 2-dimensional image. You wouldn't be a very good translator unless you are fluent in both of the languages you are working with, likewise a painter of realism must be fluent in the language of light and perspective, and the language of their own materials and execution.

GE: Can you explain some of the ideas behind the series “In-Phase Feedback Loop of Time, Space and the Probability Wavefunction of an Apparently Frustrated Human Subject”? Where are these men coming from and going? Are they fighting or holding onto each other? And what is the purpose of the black rope?

In-Phase Feedback Loop of Time, Space and the Probability 

Wavefunction of an Apparently Frustrated Human Subject, Part II

Oil on Canvas. 2011

JV: The ideas emerged from my obsession with theoretical physics. I was watching a ton of the Science Channel and reading books by Brian Greene, Stephen Hawking, and Michio Kaku. The strange phenomena of physical reality became my inspiration, and their philosophical implications became my imagery. 

A simpler idea exists in “Wavefunction Collapse”, which is the “wave-particle duality” of matter. Early in the 20^th century the “double-slit experiment” proved that particles exist not only as solid matter, but also as a mathematical wave of probability concerning their location, velocity, etc. Simply stated, particles can exist in multiple locations at the same time. The painting asks, if true for particles, what does that mean for sentient agglomerations of particles like human beings? 

The Feedback series adds to this another phenomenon. We know that feedback through a mic and speakers is the continuous amplification of a sound wave. So, what if there were such a loop in space-time through which a human might fall? Perhaps he would replicate physically, or his frustrated emotional state would be amplified.

And if you noticed, the Feedback series begins with part 2. In a part 1, which no longer exists, the figure was actually tripping over the cable connecting the two portals. It provided a graphic continuum to stand alongside the metaphor.

I know it's a lot and probably sounds crazy, but this is what goes through my head when I'm sketching.

In-Phase Feedback Loop of Time, Space and 

the Probability Wavefunction of an Apparently 

Frustrated Human Subject, Part IV

Oil on Canvas. 2011

GE: Is that a self-portrait in “In-Phase Feedback Loop of Time?” Are all the figures supposed to be you?
JV: Well the figures are certainly all the same individual and though that individual might be a representation of myself in an alternate reality, it is mostly just a human being as opposed to a portrait. Also, I am both the cheapest model I can get and the easiest to work with.

GE: I understand you have an interest in martial arts. Are there any aspects of martial arts and fine arts that relate?
JV: Absolutely. I'm a student of Jeet Kune Do which Bruce Lee developed. He said, “martial art is ultimately an athletic expression of the dynamic human body.” You could use those exact words to describe some of the greatest art; the Laocoon, anything by Michelangelo or Bernini, and someday as I endeavor, my own work.

Combat is the most primal, instinctive expression of the physical nature of living organisms; imagine any animal fighting for its own survival or to defend its young. It's like a super high-energy improvisational dance but with everything at stake. I would like to see Pollock or Rothko step inside the ring and truly express themselves...

Anatomical Study, Graphite on Paper. 2010

It helps me approach a composition with that mindset of dynamic expression, of powerful movement with emotional content. Along with the study of anatomy, what better way to learn about the characteristics and capacity for expression of the human body than to engage my own? 

“Art is the way to the absolute and to the essence of human life. The aim of art is... but the opening of all human capacities – thought, feeling, will- to the life rhythm of the world of nature.”

-Bruce Lee

Fruit of the Earth, Oil on Linen. 2012

GE: Is there any significance behind the small statue reoccuring in your still-lifes? How do you choose your imagery in your still-lifes?
JV: The human torso is a complex and beautiful result of natural evolution, so to me the statue functions as a celebration of that epic story. A still life set up has to flow with the things I tend to think about. “Still Life with Wine” might be about having a glass of wine over a philosophical discussion. “Fruit of the Earth” may suggest world view in which humans are a part of the Earth's natural ecosystem. Most importantly though, it has to be something I won't mind to sit and stare at for a few weeks.

I'm painting a skull right now, which sadly always has the connotation of death... I see it rather as an odd-looking structure that holds our faces together. It's a combination of choosing things that might interest me and drawing interest from the objects.

Still Life with Wine, Oil on Panel. 2011

GE: What is the most challenging material to paint realistically and why?
JV: This is going to sound ridiculous, but in all honesty the hardest thing for me to be paint is a solid wall. I find it more difficult to create a large, smooth and uniform gradation than to work in details. Also, painting a flat surface or drawing straight lines of architecture bore me to death. It's always the most challenging to paint something you don't really want to sit there and paint, even if it's supposed to be easy.

GE: How was the transformation from undergraduate studies to graduate school?
JV: The move into grad school was smooth for me. Over the four years at Marist pursuing digital media, I shifted heavily toward studio art my senior year after going abroad to Italy. While quickly becoming passionate about learning to paint and draw the figure, Professor Chris Seubert told me about the New York Academy of Art, where figure drawing and traditional techniques were the focus of the curriculum. I hastily got together a portfolio to apply, and was attending later that fall. I suppose I was a bit lucky, the Academy was a perfect fit, and I was able to continue seamlessly and develop rapidly as an artist in the short, two-year program. The difficult transformation is happening right now, going into the real world... I'll let you know how that goes.

Ribcage, Graphite on Paper. 2010

GE: Do you think its necessary for today's artists to keep up with the latest news and newest figures present in the art world or is it possible to be successful as an artist while being removed form everything that's going on?
JV: I'm really not a big fan of the art world but it's probably a bad idea to be totally removed. There's a lot of really, really terrible, shitty work everywhere you look, but once in a while there is an artist or a gallery that's really appealing. Subscribe to their newsletters, go to openings, etc. There's nothing quite like seeing up close the work of someone who does similar work to yours, only a million times better. I mean that in a good way, it's totally inspiring. 

I also made a lot of friends at the Academy and even went back to intern as a teaching assistant a few times. Keeping in touch with colleagues and faculty will probably prove important, especially when it comes time to invite people to your opening. Those connections are where many opportunities might come from, you may have friends organizing a show, curating, or just recommending your work to someone. Also, if you want people to show up to your openings, showing up to theirs is a good idea. And from what I hear, the most likely way to find a gallery is to know someone who already shows there and have them recommend you.