JOYCE DADEArtist

Brooklyn, New York, United States
I am delighted to be online with NURTURE art and my fellow artists. I should mention that my influences are not visual artists. In large part, it is the magical realism writers, Gabriel Garcia Marquez, Marguerite Young, Jean Giraudoux with his lovely mermaid, Ondine; Italo Calvino, traveling on a winter's night; Senor Luis Borges, with his unending labyrinth, and last but not least, Pablo Neruda with his glorious vegetables and cottage by the sea.

These literary giants and musicians, Jimi Hendrix, are the greatest sources of my inspiration.

Please be sure to visit my Blog and online stores on Etsy, Ebay, SHOPVIDA and elsewhere, and join me on social media: Twitter, Facebook, Instagram, Pinterest and elsewhere!

I hope you will like me in social media as well. Thank you for your fellowship.

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Digital Magical Realism, Metallic-Icons for You, The New Age Hybrid-Art Collector

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Evolution has had its way with me as time has gone by, I found myself evolving. Away from painting with oils to my newest identity as a magical realism photographer and graphic icon designer, using pixels and software to enhance conventional photography. I have been designing metallic graphic icon products for the two years, and creating other special effects portraits and traditional photography studies. For those with interest, please contact me through NURTUREart, I also do commissioned special effect portraits that are extraordinary. I can be reached through my blog so please visit and leave me a note if you are interested.
Metallic Icon Series: Aqua/Blue/Green

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I start a painting as if I were doodling. I draw an expression that finds its form in something such as a cartoon face or a hat. The emotional quality that comes from that dictates the next thing I draw and the next. The way the medium and color is handled is based on how I see the object and what I want to say about it. My process is instinctive and changes subject and focus throughout the course of the painting. Painting a hat leads to drawing a feather that also functions as an arch and a frame for the image. An eyeball becomes a flower and visa versa. Back and forth, observation, memory and expression exist simultaneously.
I let my impulses dictate the direction of my work. Thus, I use a multitude of mediums to create works of art. I primarily do commercial and art photography as well as mixed media drawings on wood, canvas, or paper. I love exploring crisp moments, highlighting movement in space, creating new ideas and relationships between people, memory, and space. I encourage abstractions and challenging traditional composition and modes of art-making through photography and mixed media art.
My work combines a love of gesture with an appreciation of structure. Depending on the painting, one may seem to take precedence over the other. The balancing act can be a tricky one sometimes, but the play between them is what holds my interest.
My artistic research has always being characterized by a special interest of the marginal reality. I've found my painting's inspiration from the observation of what surrounds me in the daily habits of my time.
I face a pictorial research with topics designed as series. In the initial phase of my work, I confront common themes of art history, identified by the Mediterranean vibrations, which reflects my intrinsic character. During that period I thought about art as a manifestation of the mood, and the canvas as a mirror and stirring of visible sensations.
As time passed by, the chromatic expressiveness had been transformed in a rigorous study of colors and light that came from the framing walls in the domestic environment I perceived in the daily life.
Subsequently, the painting is no longer the ultimate aim, but the path to "exhibit" tools and instruments that the technological development has taken out from the daily life, and then, belongs to our collective memory. In some cases, this are rediscovered objects that we see in everything that we can find by accumulating materials in time.
In my latest works, I'm facing the issue of "games recovered". This games comes back to life as part of a virtual reality that is within the history of each user. In other cases, I use the metaphor of the game to talk about the disaster of the war experienced by children. The drama emerges in a delicate manner, without rhetoric, and painting leads me to a profound personal reflection of the problem.
Indeed, in the constancy of my work, I've found the ideas and the answers to what was my research. I've been satisfied by a color mixed on the palette and canvas, or stretched by a sign and vital fluid defined with apparent facility, but in its nature, deeply studied.
(Carmelo Violi, 2009)


My event-driven paintings depict characters and situations in an unrealistic world of raster dots and bright colors inspired by a media controlled life in an urban world. My paintings act as an allegory for the intense media manipulation of news and images that constantly bombard my consciousness. The proximity of this information penetrates and informs my world serving as inspiration for my work.

As an artist living in the Bronx, the city is an essential part of my visual lexicon. The characters that I paint come from news stories of damaged personalities and evolve into different versions of myself, male or female, observing, thinking, and processing my everyday experiences. I use the iconic cartoon imagery of past decades originally meant to depict a good, clean American lifestyle and I juxtapose that innocence against the urban grittiness of the present day. The grid dot format in my work conveys the impression of reproduction and simulation, further enhancing my manipulation of reality. The heavily outlined forms in my paintings serve as protective armor or cloaks of invincibility for my characters.
I build abstract paintings layered with the detritus of my daily experiences. I collect and hoard whatever falls in my path: narrative text scrawls from personal notes, letters and other discarded memorabilia, snippets of conversations from my eavesdropping ventures on the street, on the bus, car or train. Various combinations of my loot are subsequently arranged and embedded in a metallic, viscose preserve of paint and shellac. Like pages from a journal, each work is an exercise in pushing paint around to articulate a time capsule on canvas.

The immediacy of a text or an e-mail message, or a post on social media defines our new ephemeral nature of correspondence. To inscribe words and thoughts are no longer the norm. I have an urge to practice this increasingly antiquated mode of communication in the midst of its waning relevance. Painting serves as a way for me to explore these dualities in a visual freestyle.
My practice is driven by curiosity. These paintings are experiments, and I want them to be simultaneously vast and intimate – equally fleeting and precious. They are a physical manifestation of me exploring my experiences – figuring out how I exist in space. I visually feel my way through the space of them. I touch them and feel their surfaces while I work on them. I consider every part of them with both my eyes and fingers. I treat my physical studio in the same way – repainting, cleaning, and rearranging so that I become familiar with every inch and corner of my surroundings. I use the paintings to ask questions about existence and learn about how I relate to everything around me. They function as both the result of asking questions and the impetus for asking more questions. I invite the viewer to inhabit them, engage with the questions I have asked, and come away with their own questions about their space. When I start a painting, I do not know where it will go. A painting is finished when both the familiar and the undiscovered resonate.
My work explores volume and space through sculpture, sound, and video to create immersive environments, in which each medium augments the other. In these environments, viewers become participants who are an integral part of the installation. Their active engagement animates and completes the work, as they are challenged to forge their own interpretations.

In all my work I have explored how individual psychology and pathology is mirrored and embedded in society at large. Since 2000, my work has engaged with and incorporated armor, culminating in Wappen Field. The direct outgrowth of this is my current focus on the raw emotions, power, and intent that are conveyed and betrayed by the human voice in the works Neural: Cleave and Neural: Soul Junk.
I currently use painting as a meditative process to generate an architectural grid of shallow-spaced facades that lack specific authorship and location, but together create a contemplative experience within a micro-environment.
Disparate man made and organic motifs are the syntax of my work and are interwoven within it. From these I compose and define space through line and shape, breathing life into them through color and light, hinting at underlying narratives that surround me. The expressive calligraphic lines and symbolic shapes I develop are repeated, placed and layered in space, like brush marks in a painting. My practice includes cut paper, mixed media, installation, but also is deeply rooted in and includes drawing and painting. In my more sculptural works and environments I am blurring the lines between two and three dimensions through the inherent flatness of the materials I use, including cut paper and metals. These may curve into one another to deepen the illusion of space and create points of reference for the eye to follow as the work shifts in form from different vantage points. Flatness, for me, becomes a metaphor for the creative process in which abstract thought is translated to material form. Understanding the fragmentary nature of thought and visual perception through my work is primary to what I do, so the battleground between these two realms is exactly the point of tension I am inspired and challenged to explore and define.
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