The New Yorker is the title of this painting. I found Shant’s work through the Artspan.com network.
PJ: Thank you Shant for answering questions about this painting. This painting surprised me. I don’t see obvious clues, yet I know it’s “pop” art. How did you do that? Also, can you talk about the composition and subject? Are you interested in the work of James Rosenquist, Roy Lichtenstein or Kazimir Malevich?
SB: I must say it’s flattering to hear compliments and positive response about the “New Yorker” from an artist with your background. Nevertheless, I have to say that while I was working in the beginning of this painting, I became involved in capturing the diversity of architectural structures in the city of New York, specifically Manhattan. I wanted to bring out forms just through straight lines and see if I can create a fourth to fifth dimension of realization. I began this painting by outlining with a simple black marker forms that were linear and soothing to be viewed, not only as an artist, but as a designer of forms. It was only at the late midst of the painting that I began to delve into color. I wanted to test my fluency through the beginning of the painting by adhering to monochromatic colors at the start. I must say that the influence is related to Fernand Leger and the clarity of Roy Lichtenstein. I also integrated, as you may have noticed, some features that resemble the works of Georgio de Chirico, applying them for the purpose of manipulating the composition of the painting.