George Yepes "Shotgun Messenger" Hand Colored Giclee Print 2000

Yepes brings this piece to life by using concentrated areas of high depth. Most of the print is flat; the thorny wreath, the neck and shoulders, the jawline, and the chin are all areas of mostly solid color/texture and high use of contour. The eyes, nose, and lips, however, are very three dimensional. Attention to light and shadow, reflectivity and absorption give these features life-like qualities. Without them, the piece would read as very flat. I think the thick contour lines around the neck could have been omitted; they distract.



Karol Bak "Part of Angels and Demons Cycle" oil on canvas 2009

Karol Bak also uses large amounts of texture and metaphysical graphics in this paintings, but, unlike Yepes, his secondary features have three dimensionality of their own. Though they are potentially a bit distractiong, the designs serve as a counterpoint to the photorealistically rendered model in adding depth and space to the painting. Because the feathers and splatters and fabrics exist in, around, and behind the model, the model gains a sense of integrated weight withing the context of the abstractions. On the other hand, the black behind the model is flat and uninspired, and actually takes away from that sense.



Georges de la Tour "Saint Joseph the Carpenter" oil on canvas 1645

de la Tour's depth is created by extensive use of tenebrism. The young jesus (and the candle in his hand too I guess) serves as an origin for all light and shadow in the work. Because the white is so white and the darks are so dark, the extreme contrast alone is enough to give depth to this painting. de la Tour combines the contrast with predictability: the light bounces off of Joseph's shirt, arm, and forehead in ways that one would expect it to. The combination of light source and proportionally correct figures give the painting photographic qualities. Though i understand the symbolic relevance to making Jesus' face the brightest point on the canvas, I think it actually takes away from the aforementioned qualities of this painting. It doesn't really make sense that Jesus' face would be brighter than the candle that he is holding. The divergence from reality is jarring and unexpected, and distracts the viewer's eye.


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There's a ton of street art and graffiti on/around/near LA Underground (Central and Buena Vista). This work, a little east of the store, is one of my favorites. I don't know if its there anymore.