One thousand words cannot show you a painting, but a painting is worth a thousand words. Never the less I will briefly try to tell you about my art.
When I paint, I work intuitively. The objects I incorporate into my work are everyday things I see around me. I paint in and finish each object before I choose a next one for my work. I used to paint abstract compositions as well as surreal dreams. Abstraction left me cold and removed from reality. The surreal world I painted left me sad and alone. Magically both of these disciplines taught me to love the representational world more. Now in my representational world, there is a land, a tabletop, or a window. This show invites you to see how cherries can exist in an imaginary landscape, on a tabletop, or in and next to a window.
When I paint in a cherry as if it were in the composition, its shadow falls on the ground, on the windowsill, or on the tabletop. When I paint in a cherry as if I had taped it on the painting, its shadow falls on the surface of the painting. This way I give you two worlds in one. I also use two light sources to further the elusion of two worlds existing at the same time and in the same place.
You might ask why a cherry. I love cherries. Their shape is simple. Red and yellow cherries are warm. Their surface is slick. They can be sweet or sour. Cherries have represented many things in art history. Painters have attributed love, passion, virginity, devotion, lust, life, and many other ideas to this small fruit. I like the ideas of simplicity and passion. For me, cherries are simple because they are round as was the first life forms. Cherries are passion because they come to us in the hot summer days when we are ready to feel the sun on our bodies and abandon the cold dark days of winter.
"Ricardo’s paintings possess a close resemblance to
Salvador Dali and Renè Magritte. Carbajal-Moss surfaces
have the finish and sheen of Flemish painters from centuries
ago. His style is meticulous. His surfaces are filled with
oversized fruit, female nudes that are transmuting into wafer-thin
forms, landscapes that contain elements of architectural
interiors and little creatures you won’t find in any
zoological text.
Like Dali and Magritte, Carbajal-Moss enjoys confusing
the distinctions between architecture and landscape, cultural
artifacts and nature."
