Category Archives: Uncategorized
WHO AM I?
All works were begun mid January, 2021, and the very last ones were finished on July 30, 2021. 36 paintings.
WHO AM I?
I am the protagonist in every one of these rectangles. They are all self portraits.
For horizontal images please open them in a new tab for optimal viewing. They are all the largest works.
All images Copyright (C) Paul Fortunato 2021. All rights reserved.
BRUSH KILLER
acrylic on canvas
110.5 X 80.5 cm., 43.5 X 32 in.
DOWN
acrylic on canvas
116.5 X 91 cm., 46 X 36 in.
VULNERABLE
acrylic on canvas
116.5 X 91 cm., 46 X 36 in.
COFFIN NAILER
acrylic on canvas
109 X 95 cm., 43 X 37.25 in.
INSULATING RING OF LIGHT
acrylic on wood crate panel
109 X 81 cm., 43 X 31.75 in.
COMPOUND VISION
acrylic on wooden panel
109 X 72 cm., 43.25 X 28.25 in.
ECHO CHAMBER
acrylic on wooden crate panel
109 X 95 cm., 43 X 37.5 in.
COOLING TOWERS
acrylic on wooden crate panel
119.5 X 121 cm., 47 X 47.75 in.
ARIES
acrylic on linen
140 X 149.5 cm., 55.25 X 59 in.
BACCHUS
acrylic on linen
152 x 114 cm., 60 X 44.75 in.
SELF PORTRAIT WITH LOADED BRUSH
acrylic on linen
160 X 153 cm., 63 X 60 in.
I SEE THINGS IN OTHER THINGS
acrylic on linen
171 X 125 cm., 67 X 49 in.
EMOJI KILLER
acrylic on linen
124 X 170 cm., 49 X 67 in.
THE BRUSH OFF
acrylic on canvas
122 X 172 cm., 48 X 67.75 in.
MIGHTY DRYWALL TAPER
acrylic on canvas
155 X 140 cm., 61.25 X 55 in.
No! YES!
acrylic on canvas
106.5 X 160 cm., 42 X 63 in.
ARCHER (BABY ORANGUTANG)
acrylic on linen
99 X 134 cm., 39.25 X 53 in.
MIGHTY RABBIT
acrylic on linen
110.5 X 80.5 cm., 43.5 X 32 in.
NICE ASS
acrylic on linen
124.5 X 171 cm., 49 X 66.5 in.
ROADKILLER
acrylic on linen
167 X 125 cm., 76.5 X 65.5 in.
THE LOVE LOST CONSTELLATION
acrylic on canvas
194 X 166 cm., 76.5 X 65.5 in.
ANTEATER (SMART CITY)
acrylic on linen
217 X 135 cm., 85 X 53 in.
WET MARKET ESCAPE
acrylic on linen
152 X 185.5 cm., 60 X 73 in.
THE MARATHON RUNNER
acrylic on linen
108 x 218 cm., 43 X 86 in.
FAILING TO FORGET YOU (FOREVER IN MY HEART)
acrylic on linen
139 X 175 cm., 54.5 X 69 in.
UNTITLED (WORKAHOLIC)
acrylic on canvas
167 x 100 cm., 66 x 39.5 in.
OLD KOREAN LADY, RETURNING HOME
acrylic on linen
181.5 X 121 cm., 74 X 48 in.
FACE REMOVAL APP
acrylic on linen
152 X 201 cm., 60 X 79.5 in.
TAIL CHASER
acrylic on linen
152 X 171 cm., 60 X 67 in.
MEIN WAGEN
acrylic on linen
152 X 188 cm., 60 X 74 in.
ALREADY DEAD
acrylic on linen
172 X 224 cm., 66 X 88 in.
SIAMESE TWIN CENTAUR DROWNING HALF OF ITSELF
acrylic on linen
185 X 217 cm., 73.5 X 85 in.
HORSEFLY
acrylic on linen
167 X 266.5 cm., 66 X 105 in.
INFINITE GHARIAL
acrylic on linen
166 X 299 cm., 118 X 65.75 in.
RUFF ‘N’ READY
acrylic on linen
109.5 x 211 cm., 42.75 X 83 in.
JACKALOPE
acrylic on linen
167 X 208 cm., 66 X 83 in.
Hello all.
The year 2020 was a bad year for almost everyone, myself included. I stopped painting entirely and only got my game back since January 2021, after Joe Biden had officially won the presidential election. Since that time I have been working on my new block of paintings titled WHO AM I?
From June 22 to July 4, Will Pertz, a musician and digital sound installation artist, and myself are renting out the cavernous Daejeon Gallery, here in Daejeon, South Korea, for a 12 day ongoing live painting and music performance. During that time I will continue to work on ‘Who Am I?’, finish works, start new ones, and spread them all out to get a good look at all of it before it is finally documented by my photographer friend.
Also participating is Boon, a native Korean painter, and other artists are welcome to find a wall and create.
The gallery was formerly a gymnasium, part of a larger school complex built during the Japanese occupation. I will recreate the Ossining, New York studio experience, back in 2013, when I was able to run in what was a former Opera house. I will turn the gallery into a public studio, bringing all my equipment and supplies.
NEOSIMPLEXITY, Volume 2
The last set of paintings completed before relocating to an old farmhouse. My lockdown block, which, for this natural hermit, has already been a way of life. All created in the Republic of Korea.
To view images at correct relative scale, please right click and open in a new tab.
All works Copyright © 2020 Paul Fortunato, all rights reserved, no copying or use without express permission of the artist.
“I’M WARNING YOU………….”
2020
Acrylic on museum board
20 X 15 in., 50.5 X 38 cm.
IN ORDER TO LIVE, I HAD TO KILL MYSELF (redone and is now a new 2021 work)
2020
Acrylic, painting palettes, and pants on canvas
36 3/4 X 82 1/4 in, 93 X 209 cm.
LA GRANDE JATTE
2020
Acrylic on canvas
82 1/2 X 39 1/8 in., 209.5 X 99 cm
‘CAULDRON OF FIGHTING HUMANS’ PLATTER (painted over and is now a new 2021 work)
2020
Acrylic on canvas
48 X 74 in., 121.5 X 188 cm.
FEVERISH
2020
Acrylic on found painting on mulberry paper with silk border and laminated on wood.
35 1/4 X 36 1/2 in., 89 X 92 cm.
SCHOOL OF ATHENS
2020
Acrylic on canvas
48 X 74 in., 121.5 X 188 cm.
UNTITLED ( SELF PORTRAIT)
2020
Acrylic on canvas
56 X 28 1/4 in., 142 X 72 cm.
GIVE DEINOTHERIUM SOME ( painted over and is now a new 2021 work)
2020
Acrylic on canvas
42 3/4 X 83 in., 109.5 X 211 cm.
SELF PORTRAIT
2020
oil on canvas
21 1/2 X 16 1/4 in., 54 X 41 cm.
SHEEP FACE
2020
Acrylic on museum board
20 X 15 in., 50.5 X 38 cm.
TROUTNADO
2020
Acrylic on masonite
23 3/4 X 311/2 in., 60 X 80 cm.
“QUICK, GET OUT!”
2020
Acrylic and painting palette on masonite
16 X 20 in., 41 X 51 cm.
JAIR BOLSONARO THE FIRE BREATHING MONSTER
2020
Acrylic on wood
41 1/4 X 45 in., 102 X 114.5 cm.
STEGASAUR BURRO
2020
Acrylic on museum board
15 X 20 in., 38 X 50.5 cm.
WICKER TABLESAW
2020
Acrylic on museum board
20 X 15 in., 50.5 X 38 cm.
Study, After Caravaggio.
2020
oil on canvas
20 3/4 X 14 in., 53 X 36 cm.
Study, after Caravaggio.
2020
Colored pencil on black paper
21 1/4 X 15 3/8 in., 54 X 39 cm.
5 MINUTE MITCH McCONNELL
2020
Acrylic on watercolor paper
20 X 14 1/4 in., 50.5 X 36 cm.
BOOMERANG
2020
Acrylic on museum board
15 X 20 in., 38 X 50.5 cm.
ASSASSIN BUG
2020
Acrylic on wood
41 1/2 X 45 in., 105 X 114.5 cm.
NEOSIMPLEXITY AND THE SOUND OF COLOR
New 2019 Paintings Completed Just As The Year Ended.
Let’s call this Volume 1, as I am already at work on Volume 2, with a deeper exploration of similar themes. In this set, itself an expansion on SIMPLEXITY from earlier last year, I express my views on Environmentalism, the Ethical Treatment of Animals, Childhood Memories, Nature’s Revenge, Death by Bandwidth, and of course, Music. Where would humanity be without it, especially now, in these dark times? Where would I be, if I were not able to paint to it? In a hospital maybe, missing one or both ears. The family next door is completely unaware that I am blissfully losing my mind, taking on today’s big issues with a loaded brush. In the relative safety of my Sony MDR-RF985RK wireless stereo headphones, despite being within farting range of North Korea’s WMDs, nobody can touch me.
To view horizontal images at correct scale please open them in a new tab. Thank you.
All works acrylic on canvas.
Copyright © 2020 Paul Fortunato. All rights reserved.
IRISES 2
105.5 X 185.5 cm, 41.5 X 73 in.
THE BRIDGE
182.5 X 228 cm, 72 X 90 in.
TXTING WHILE CONCERT GOING
200 X 70 cm, 78 3/4 X 27 3/4 in
DADDY MOMMY
133 X 139.5 cm, 52 1/4 X 55 in
MY PHONE IS SO SMART
156.5 X 96 cm, 61 3/4 X 37 3/4 in
AIR GUITAR
147 X 195.5 cm, 58 X 77 in.
CHAMBERED ORCHESTRA (AQUAMETAL)
195.5 X 147.5 cm, 77 X 58 in.
MANTA SLOTH
Acrylic on canvas with attached painting palette.
180 X 100 cm, 71 X 39.5 in.
GIRL BAND
203 X 93 cm, 80 X 36 3/4 in.
MANTIS
54 X 129.5 cm, 21 1/4 X 51 in.
PLEASE SAY ‘NO’ TO FUR. THANK YOU.
182.5 X 228 cm, 72 X 90 in.
IT CAN BE.
54 x 104 cm, 21 1/4 X 41 in.
My retrospective in Busan, Korea: The whole show, from start to finish.
Here is the complete documentation of my solo exhibition installation at Miboo Art Center, Busan. The show occupies two floors. Photography and editing by master photographer and digital wizard Brian Sunghun Park.
Show ends August 30, 2019.
To enlarge right click on image and open in a new tab.
THIRD FLOOR GALLERY
SECOND FLOOR GALLERY
This and next two images:
DRAW, YOU FUCKER! 2019 Acrylic and marker on found, partially melted, plastic file cabinet, 33 X 30 X 35 cm
PARACHUTE BRICK-DROP 2019 Brick, bicycle hub and spokes, steel can, 86 X 23 X 23 cm
HELICOPTER (loosely based on Boeing Apache) 2019, vacuum cleaner, wooden window blind blades, metal 41 X 113 X 77 cm
TWO SQUID 2018 Acrylic on drawing paper pad spines and paper Each squid approximately 153 cm long
THREE HONEYBEE HEADS 2015 Office chair parts. Each head 41 X 49 X 54 cm.
SINKING LIFE BOAT 2019 Acrylic and marker on rubberized floor tile section. The ‘water’ pattern preexisting in the material. 45 x 70 cm.
WALKING MAN 2019 Acrylic and marker on rubberized floor tile section. The ‘sky’ and ‘reflective water surface’ preexisting in the material. 74 X 116 cm.
HEAD WITH HAT 2018 Acrylic on wood, with chair sections, PVC, metal, electrical chord. 42 x 58 X 122 cm.
EL GORDO DUCHAMPO (title by Brian Sullivan) 2019 Wood, children’s bicycle wheel, children’s stool. 69 x 31 X 31 cm.
DAMSELFLY HEAD 2019 Honeybee hive panels, car lamps, car logo, car grills, fallen cat whiskers, mannequin scalp, acrylic. 50 x 150 X 97 cm.
A walk through my Korea retrospective.
The show at Miboo Art Center (미부 아트센터) in Busan, runs until August 30. It includes all the new 2019 paintings from SIMPLEXITY, as well as the best that I have created here in Korea over the last four years. The work occupies two vast gallery spaces on two floors.
SIMPLEXITY
SAVING THE EARTH, ONE PAINTING AT A TIME
This new 2019 set of paintings, collectively titled SIMPLEXITY, was created over the last 6 months here in South Korea, where I relocated from New York City almost five years ago. I did not invent the word ‘Simplexity’, as it can be found in abundance on the internet. But I felt the word fit with what I am doing now, which can be open to many interpretations, just like the word itself.
Nature is and always has been my inspiration, and many of the new works are an expression of rage and sorrow at what we are doing to our Earth. But rather than just add more heat to to the cauldron of rage to be found everywhere, I approached it in my usual dark, creative humor, seeing it all as fundamental shapes to be played with, and finding clarity in the process. This is the only way I know how to deal with the the barrage of bad news I try not to read. Without the ability to paint it away, I myself would just slip away.
All the new paintings, in addition to the best that I have created over the last years in Korea, including 3D works, is now on display in a sprawling two-floor retrospective at Miboo Art Center in Busan. The exhibition runs until August 30.
To see the horizontal images at correct scale please open them in a new tab.
All images © Copyright 2019 Paul Fortunato. All rights reserved.
All images © Copyright 2019 Paul Fortunato. All rights reserved.
THE MARKSMAN
acrylic on canvas,
59.25 X 82.5 in, 151 X 209.5 cm
NUDE DESCENDING A SAWZALL
acrylic on canvas
59 x 53 in 150 X 135 cm
UPKILL (Rise Of The Sauropods)
acrylic on canvas
59.25 X 82.5 in 151 X 209.5 cm
DON’T CRY FOR ME RONDONIA
acrylic on canvas
71 X 39.25 in, 180 X 100 cm
DYING KING
acrylic on canvas
55 X 79 in, 140 X 200 cm
PLAY BALL!
acrylic on canvas
86.25 X 53 in, 219 X 135 cm
LIQUID BASEBOARD
acrylic on canvas
77 X 82 in, 194.5 X 209.5 cm
INLINE SKATE TYRANNOSAUR!
acrylic on canvas
82.5 X 59.25 in, 209.6 X 151 cm
MAN
acrylic on canvas
59 x 53 in, 149 X 135 cm
WOMAN
acrylic on canvas
86.25 X 53 in, 219 X 135 cm
THE KISS GOODBYE
acrylic on canvas
51.25 X 64 in, 130 X 162.5 cm
PUSHING OFF NOW
acrylic on canvas
59 X 53 in, 150 X 135 in
STARRY NIGHT 2
acrylic on canvas
58.5 X 35.5 in, 148.5 X 90 cm
WHEN WHALES TOOK TO THE TREES
acrylic on canvas
78.5 X 55 in, 199.5 X 140 cm
FLASHLIGHT
acrylic on canvas
49.25 X 27.5 in, 125 X 70 cm
FONTANA: RECENT WORK
acrylic on wood
22 X 20 in, 55 X 51 cm
GOLDEN GATE ZIPPER CORP
acrylic on canvas
46 X 36 in, 117 x 94 in
JACKKNIFED RABANNE TANKER
acrylic on foamcore
27.5 X 49.25 in, 70 X 125 cm
DIGITAL FUTURE
acrylic on canvas
49.25 X 27.5 in, 125 X 70 cm
SPIDER BEAR DOING HIS SHARE
acrylic on canvas
49.25 X 27.5 in, 125 X 70 in
LIFTOFF
acrylic on canvas
49.25 X 27.5 in, 125 X 70 in
The American Embassy in Seoul.
I needed to get some US documents notarized so I made an appointment at the American Embassy for today. I took no pics, while waiting outside, feeling anxious as the police watched me, thinking they might think I am casing the joint. It was a bleak, but warm day.
The building is as drab-as-drab-could-be. Plus ugly. In addition to a high cement wall with concertina wire and surveillance cameras, the complex is shielded on 2 sides by giant police buses, parked bumper-to-bumper, with Korean police stationed every half-a-bus. No suicide driver will ever get very deep here.
At 1:09 I entered early for my 1:30 appointment through a blast proof door, when prompted. I relinquished my phone, after told to turn it off.
Inside is a drab lobby that could be a shitty hospital in Anywhere USA, with drab hospital-blue walls, and a sagging, yellowed drop ceiling, some tiles replaced with shiny white new ones. The carpeting was hideous. You rarely see carpeting in public spaces in Korea. A faux colonial ceiling fan listed badly to the right. Shitty carpentry was to be found everywhere, if you are the kind of person that looks for that sort of thing. When my number was called and I waited in front of the blast proof teller’s window, I noticed clumsy attempts to cover up fuck-ups in the details. I noticed similar transgressions at the Port Authority Bus Terminal and Grand Central Station in New York.
One of my documents needed to be signed by a witness of a witness, so I asked an American serviceman waiting with his wife and child, and he signed for me. As I was leaving I thanked him for the second time. I was anxious to get out of there and in my haste, as I was packing my bag, I accidentally yanked out a piece of fake plastic grass that hemmed in the waiting area in high boxes. I picked up the plastic ‘seedling’ and replanted it in the plastic bed as the Korean guard nervously watched me, and I got the hell out of there.
It’s as if a spaceship came and transplanted a slab of Americana in East Asia, and protected it well. The tellers behind that impenetrable glass were nice to me, and they felt familiar. I was on the outside of their bomb proof box, looking in at my own country, inside a bomb proof building in another country. And it felt like home.
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