When I first started working on a series of serial killers, I realized watercolor had the same exploration of a serial killer in my work. Each of my works goes through an extensive process of color, and texture, formation and reinvention. The vibrant colors come from the transparent pigment, allowing light to shine through the paper, and the white of the paper to reflect back the light;, which creates a glow. The audience is drawn to the vibrant colors, because we associate vibrant color as positive. The same tactic Ted Bundy used to lure many of his young female victims with his with handsome and charismatic traits, he exploited to win their trust.
As the audience looks longer at my work, they will soon realize the gore, and peculiar that is hidden. I think it’s an interesting way to obtain a response. The realization of being attracted to such a beautiful thing;, which turns out too ugly and insanitye. This confliction within ourselves to avoid the ugly truth of the mentally perverse, but are at once being drawn in when it comes to gore and the peculiar.
The flow of each color, and its function as an escape from the confinement of the picture plane; it is like it has its own mind. The idea of losing rules and order in society. Similar to serial killers, they accepted their anger and madness. They act upon those feelings, thaen think of the consequences. They value their pleasures, desires, and overall, the superficial. But those are the same qualities why people want to avoid this media. We tend to fear things we cannot control completely, even such a simple object.
The most common color I used throughout my series of a serial killer is India Green. India Green, is a shade of green that is 94% saturated and 53% bright. There is always a deep hole in the India Green pallet, only because of the large amount I used in my work, and the way I joab my brush deep within to have more pigmented color. When there is an overload of water on the surface, it would leak around the pallet., Ddamaging and changing any color around it,; especially yellow. As it dryied, the leaky pigment would form around the pallet;, making it look rusty. Not only is it unpleasant to look at, but sticky too.
This green has captured many of my viewers’ eyes with its beautiful and haunting color. We associate green with a color of growth, the color of spring, of renewal and rebirth. It renews and restores depleted energy. Yet, I used this color as a representation of decay, rotten, and moldy. To me, this color is a smell of death, rotting away with flies lurking around. When I paint India Green for my background, there is a sense of rhythm from multiple transparent layers of the pigment. It is almost as if a dark possessive air lurkings around the viewer.