"Each experience and significant moment in my life is portrayed in each work." - Artist interview with Joseph Yonke

ARTCOLLECTORNEWS: Please tell us a bit about yourself and your artwork

I grew up painting, art has always been a major part of my life. Ever since I could remember, I’ve been painting. My work is inspired by elements such as emotions and perceptions of the world; however, I have always grown up being inspired by the work of George Condo and Willem de Kooning. My figurative, abstract expressionist work is predominantly demonstrated through large-scale portraits constructed by oil, acrylic and ink mediums on canvas.

ARTCOLLECTORNEWS: How has your background shaped your artistic practice?

I definitely learned a lot from my grandfather. I also had an apprenticeship with artist Cory Bonnet in the summer of 2021. Both of which are still mentors to this day, but have very different styles than mine. Regardless, every master artist I talk to I feel that I have learned from no matter how brief the dialogue has been. Being around art constantly has allowed me to get as far as I have by 23 years, and it seems as though my comprehensive growth as an artist is exponentially increasing.

ARTCOLLECTORNEWS: How has your creative process changed over the years?

I grew up painting and drawing realistically, then my style continually transformed into the figurative, surrealist and impasto work I do today.

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ARTCOLLECTORNEWS: How has your artwork evolved since you first started making art?

As a result of growing up creating art, obviously the spectrum of what I have created and how I have created it is wide. However, once I began making decent abstract work, I never went back, and then that transformed into figurative abstract expressionism.

While working next to my grandfather in his garage studio, I applied heavy layers of oil and acrylic paint while mixing the mediums on the canvas's surface and following his color relation and design lessons. Once the piece was finished, we realized I was progressing towards a style of my own. The product was abstract and saturated, but the fashion of its production intrigued me more than any other work I had done prior.

ARTCOLLECTORNEWS: What first inspired you to become an artist?

Again, my grandfather inspired me to first begin creating art. And then I began observing the art of artists such as George Condo, Willem de Kooning, and that definitely changed my life and views of what I truly wanted to be.

ARTCOLLECTORNEWS: Are there any particular artists or movements that have greatly influenced your work? In what way?

George Condo the American contemporary artist who is associated with the Neo-Expressionism movement has greatly influenced my work. He is known for his distinctive style of painting that combines elements of classical European art with a cartoon-like sensibility. His work often features distorted figures and surreal landscapes, and has been described as "artificial realism" or "psychological cubism". Condo's art style is also characterized by his use of bright colors and his willingness to experiment with a wide range of materials, including oil paint, acrylics, and charcoal. Regarding my work, I have found my version of incorporating bright colors and cubist forms into each paining. I also utilize a range of materials most paintings; however, I mainly use oil and acrylic paint, as well as ink instead of charcoal.

ARTCOLLECTORNEWS: How do you select your themes?

I usually paint women, either people who have had a significant impact on my life, or others who inspire me from an artistic and aesthetic point of view. Sometimes I will paint animals that I am interested in such as tigers, so really my subject matter and themes revolve around what I believe to be the most beautiful people or creatures.

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ARTCOLLECTORNEWS: Can you tell us a bit about a  few specific pieces you have created that you are particularly proud of?

Each experience and significant moment in my life is portrayed in each work. For example, in the piece "Cadmium Cory," which is based on a summer during an apprenticeship I had with the artist Cory Bonnet, all of the lessons I learned and experiences I had in proximity to my apprenticeship were incorporated. There were many impactful events that have changed or affected me permanently, which occurred in proximity to the time of my apprenticeship, and the guidance of Cory led me to and down an optimal path as an artist and human. Or during the construction of the self-portrait “ADD” I created a piece that represented my experience of growing up with severe attention deficit disorder. There has always been a conscious tendency to internalize everything happening to me and around me, and as a result, my artis a culmination of these elements. Additionally, what I create is predominately a view or commentary on the human condition and reflects what any human can feel or experience internally; as I feel these experiences are often too ignored, overlooked, or suppressed, I seek to identify and represent them, obviously relating to my perceptions regarding these circumstances.

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ARTCOLLECTORNEWS: What has been the most rewarding part of your career as a studio artist?

Being able to set an example of what working really, hard can do. I fortunately get to do what I love, which was consequentially determined by the time and development that was put in to becoming an artist. This path is far from easy; however, although it can, will and is painful, it is optimally fulfilling for me and brings me more joy than just about anything else. People constantly tell me that my dedication is inspiring, and I try my best to communicate that I hope they too find whatever may bring them a profound sense of purpose and passion.

ARTCOLLECTORNEWS: Tell us about your latest body of work

The “Can’t Have Everything” Series is my most recent body of work. explores the human emotions of envy and its destructive effects on one's inner self. The series aims to showcase how envy, although a normal human emotion, can consume us internally and lead to significant battles within our own conscience.

I delve into is the depiction of internal battles, through the use of contrasting colors and forms. In this current art series, I often try to show the battle between good and evil, light and dark, and order and chaos, which all represent the conflicting emotions and desires within the individual. The bright colors and sharp lines symbolize the individual's aspirations and dreams, while the dark colors and rough, organic forms represent the envy that consumes them.

All in all, my art series "Can't Have Everything" is essentially a commentary on the destructive power of envy and its impact on our inner selves. Through the use of vivid colors, contrasting forms, and symbolic imagery, I aim to bring attention to this powerful human emotion and its effects on our lives.

In addition to the aspects I previously mentioned, "Can't Have Everything" also delves into the idea of how envy can lead to destructive self-talk and a distorted view of reality. In some of my works, I depict the individual consumed by envy speaking to themselves in negative and self-deprecating ways, which serves to reinforce the negative thoughts and emotions brought on by envy.

Moreover, the distorted and fragmented forms in my pieces represent the individual's distorted view of reality and how their envy can cause them to see things in a skewed and negative light. This distorted view can lead to feelings of hopelessness and despair, as the individual begins to believe that their envy and the negative emotions it brings are all that exist in their world.

In "Can't Have Everything," I also aim to shed light on the fact that envy often stems from a lack of self-awareness and a disconnection from one's own values and beliefs. By exploring this idea, I hope to encourage individuals to examine their own feelings of envy and to take steps towards finding a greater sense of self-awareness and connection to their own values.

"Can't Have Everything" is a deeply introspective series of mixed media paintings that challenges viewers to reflect on the power of envy and its effects on our inner selves. Through the use of vivid imagery, symbolic forms, and powerful commentary, I aim to shed light on this important human emotion and to encourage engagement in self-reflection and growth.

ARTCOLLECTORNEWS: Do you have any upcoming exhibitions or projects that you are excited about?

This summer I will be having a show at the Miami Beach Soho House that I am very excited about. This show will be a major stride in my early career.

ARTCOLLECTORNEWS: What do you think is the most important aspect of creating successful artwork?

Spending an extreme amount of time creating art is the most important aspect of creating successful artwork.

Additionally, another very important aspect of creating successful artwork is to stay true to your own unique vision and style. It's essential to develop a personal voice and express it authentically through your work. To achieve this, you must intensively practice and refine your skills, whether it's through formal training or simply by consistently creating art. You should also seek out inspiration and experiences that enrich your creative process, whether it's through traveling, exploring new mediums or techniques, or collaborating with other artists.

Last but certainly not least, successful artwork requires passion and a willingness to take risks. To create truly memorable pieces, you must be willing to experiment, make mistakes, and push boundaries. Only by embracing the unexpected and challenging yourself can you create art that truly resonates with your audience and stands the test of time.

ARTCOLLECTORNEWS: Describe your process of creating a new artwork from concept to completion.

While creating art, the greatest appeal and tendency regarding construction or creation relates to the instinctive approach to the 1950s style of "action painting.” However, my work always includes some form of logic and reference to myself from a conscious perspective or to my greater surroundings, such as environment and nature; therefore, leaving ample room for ambiguity and for a viewer to incorporate their experiences and imagination to complete the work. Even the most uncomplicated of shapes have meaning—particularly when made into visual art. We cannot help but see something and implement personal individuality.

Additionally, I will sometimes be drawing and come up with a figure or composition that I find compelling, and then decide to turn it into a painting. I really never begin a drawing with the intention of creating a painting or to guide that undertaking.

ARTCOLLECTORNEWS: What is your favourite medium to work with? Please tell us a bit about how the medium influences or supports the ideas behind your work

Oil Paint is one of the most versatile and expressive mediums available. The texture and consistency of oil paint allows for a wide range of techniques and effects, from thick impasto brushstrokes to delicate glazes and washes. The slow drying time of oil paint also gives me more time to work with the paint, allowing me to blend colors and create subtle transitions in tone and value.

Oil paint also has a richness and depth of color that is hard to achieve with other mediums. The pigments used in oil paint are often more intense and vibrant than those used in other types of paint, giving my artwork a luminosity and depth that is hard to replicate with other materials.

In addition to its technical advantages, I also find oil paint to be a deeply satisfying medium to work with. The process of mixing and applying the paint is almost meditative, and the way the colors blend and interact with each other can be both surprising and inspiring. Working with oil paint allows me to fully immerse myself in the creative process and explore the limits of my artistic vision.

ARTCOLLECTORNEWS: Are there any techniques you have developed that you use consistently in your artwork?

I have been putting a lot of hearts in my artwork. Mostly to remind me to demonstrate the love back that I have received from my family and close companions.

I also mix my paint on the canvas, in my opinion, this technique makes for a much more compelling application of medium.

ARTCOLLECTORNEWS: What has been the most memorable artwork you have created? What makes this piece memorable?

The painting "ADD" is a 48" x 36" canvas painted with oil and acrylic paint. “ADD” is a contemporary abstract expressionist, figurative painting and leans more into the cubist style of art. This piece is a representation of my upbringing and significant experiences in life that have made me who I am today. Moreover, a significant aspect or characteristic of me and my journey has been dealing with severe attention deficit disorder (ADD). This abstract expressionist portrait of myself is portrayed in a visual manner that is aligned with how I perceives general life. The painting is hectic and full of symbolic entities of my experiences throughout the past few years - the good, the bad, the ugly… and the beautiful. 

With too much going on in each person's life today - distractions that seem to be compounding and never-ending - perpetuated by an extreme amount of smart phone, social media, etc., use, focusing on a particular task or any important and rudimentary aspect of life can be considerably challenging. People are too caught up in the noise, and those with ADD are further affected by this new and constantly evolving first-world environment we find ourselves in. 

Growing up, I've always felt as though there was so much going through my mind, and by no means constructive thoughts or stimuli, that I could not focus on whatever was right in front of me. Even now, many times when I try to focus on a task that I do not find favorably stimulating, my mind still instantly wonders elsewhere. 

With many interests, relationships, b.s., regrets (not really - more so shortcomings), and other aspects of life that'll consume focus and mental energy, I often feel as though life has taken me by the seat of my pants. With that said, though, I don't really care about my past too much; I've learned from a lot and am constantly growing. And now, having a small circle of great people around me and only a couple of significant interests that are enhancing my life, the sky has cleared a bit. Finally, the fog of confusion and distraction is thinning, and now I am on my way to the life I want and need. Painting has been my escape from the "devices" of ordinary life, and I now feel as though I am living. I think I am solving the negatives that come with having ADD and using it as a tool and even an enhancement to my personality. Not being normal is fun. I've learned that one of life's most fun qualities is not being normal. The "ADD" painting is certainly not normal, and others notice this to be true.

Most recently, I have felt a bit disoriented, though. I almost regressed from past clarity, which I believe comes with my change in perspective as I grow. The more I develop as a person and artist, the more aware I am of how vast this world is and all that can and should be done. Hoping and trying to effectively break into the mainstream art scene or public is comprising most of my thoughts, and fortunately, the path is becoming more visible. But, unfortunately, these bullets of impulses or thoughts distract me from imminent problems or real-time tasks that should be addressed, or else I diminish my life outside of art. In my writing, which relates to the concept behind "ADD," so many thoughts appear, and I try to cohesively form them together as I did while painting ADD, which causes both forms of creation to be relative in many ways. 

My work is truly a demonstration of how I think and see. And therefore, the authenticity behind my work is very much present. The "ADD" painting, in particular, embodies who I am and how I function as a human being. The work I create does not get much more personal than this. There have been offers placed to buy this painting, and I have turned them down, but now as I become certain of my capabilities to create an undefinable number of pieces that are representative of me, I am willing to part with "ADD" and sell to someone who truly appreciates it. Many artists, even mainstream artists, seem to fail to foster a connection between themselves and their work; something that further differentiates me is my proclivity to do so inherently. My work is extremely personal, and explaining this is important so my audience, collectors, etc., can be aware. And although my work is very personal, this maybe the most personal I have and will ever create. 

Each time you view this painting, similarly to my other work, you will find something new. The art I create is complex and demands that the viewer deliberately views the work with an open mind while still interpreting what they see. Creating a work of art with my method, along with a bold and powerful color palate, causes my work to be as visually compelling as possible and will stand out from the other pieces. 

All in all, I truly love this painting.

ARTCOLLECTORNEWS: What was the most challenging piece you have ever created?

The “ADD” piece. I tried to be very systematic with the entities and concepts I included in the piece. Also trying to convey specific emotional events at once, simultaneously, was challenging.

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ARTCOLLECTORNEWS: Tell us about the particular materials or techniques you use to create your artwork and how they     influence your work and practice?

I use a lot of paint on each painting. I make very heavy layers that definitely influences how the piece comes together and who it is presented aesthetically. It is hard to capture from a photo, however, when viewing closely in person, the viewer can see the mountains and valleys of paint that build the subject matter or cement it into the piece.  

ARTCOLLECTORNEWS: Are there any particular techniques or materials you would like to learn how  to use in the future?

I plan on getting into metal work and creating sculptures in the near future.

ARTCOLLECTORNEWS: What themes or topics are you exploring in your current artwork?

My work often explores themes of identity, emotion, consciousness, and the human condition. In my paintings, I attempt to capture the vehemence of the human face and convey profound feelings through my brushstrokes and unrestricted application of mediums.

ARTCOLLECTORNEWS: Are there any particular projects or themes you would like to explore in the future?

I am planning to do a series of very large portraits. Once I officially leave Pittsburgh and move out to Miami and assimilate there this summer, I will begin that series.

ARTCOLLECTORNEWS: What do you think is the most important skill a studio artist should have?

Being a studio artist is something that a ton of young people hope to be. So, here are some observations and advice on getting there:

Many artists believe that the most important skill a studio artist should have is the ability to observe and accurately represent what they see. This skill is often referred to as "drawing from life" or "drawing from observation."

Being able to accurately represent the world around them allows an artist to create artwork that is believable, which is essential for creating a strong composition that communicates the artist's intended message. You may be wondering what I mean by“ believable.” Creating artwork that is believable means that the artwork looks like it could exist in the real world, even if it's a stylized or abstract representation of reality. When an artist creates a work of art, they are often trying to communicate a message or tell a story through their artwork. If the artwork looks unrealistic or implausible, it can distract from the intended message or story, and the viewer may not take it seriously. For example, if an artist is creating a painting of a landscape, they need to be able to accurately represent the colors, shapes, and textures of the landscape in order to create a believable scene. If the trees are purple and the grass is bright blue, the scene will look unrealistic and the viewer may not be able to fully immerse themselves in the artwork. Similarly, if an artist is creating a portrait of a person, they need to be able to accurately capture the proportions and features of the person's face and body in order to create a believablerepresentation of that person. If the eyes are too far apart or the nose is too small, the portrait may not look like the person it's meant to represent. Of course, there are many styles of art that deliberately distort or exaggerate reality for creative effect. However, even in these cases, the artist must have a strong foundation in realistic drawing and painting skills in order to create a convincing illusion that engages the viewer's imagination. Ultimately, creating artwork that is believable is important because it helps the viewer connect with the artwork emotionally and intellectually, and can make the artwork more impactful and memorable. Additionally, being able to accurately represent what they see in the world helps artists to develop their own unique style and voice, as they learn to interpret the world in their own way.

However, it's worth noting that there are many other skills that are important for studio artists to have, such as technical proficiency with different art materials and tools, the ability to think creatively and solve problems, and strong communication skills to be able to effectively communicate their ideas to others. Ultimately, the most important skill for a studio artist will depend on their individual goals and artistic vision.

It is also important to mention that down the road of artistic evolution, artists can focus more on being a colorist and aesthetics while still maintaining a strong and compelling composition, all the while pushing the boundaries of reality, consequentially creating great work. Completely break the rules when appropriate.

ARTCOLLECTORNEWS: What do you think has been the biggest challenge in your creative career?

There is a lot of rejection that comes with having a career as an artist. There is also a lot of criticism that comes with the job as well. The biggest challenge is to fight through it while also considering it in a manner that involved critical thinking of oneself.

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ARTCOLLECTORNEWS: What advice would you give to aspiring studio artists?

           1. Practice regularly: Artistic ability is a skill that improves with practice, so make sure to set aside time each day or each week to work on your art. Even if it's just a small amount of time, consistent practice is key to improving your skills and developing your own artistic style.

           2. Study the work of other artists: Take time to look at the work of other artists and learn from their techniques and approaches. Visit galleries and museums, read books and articles about art, and explore online resources to gain inspiration and insight into the art world.

           3. Experiment with different mediums: Don't be afraid to try new materials and techniques to discover what works best for you. Experimenting with different mediums can help you find your artistic voice and push your creativity in new directions.

           4. Seek feedback from others: Get feedback from other artists, friends, family members, or art instructors to help you identify areas of strength and areas for improvement. Constructive feedback can be invaluable in helping you grow as an artist.

           5. Develop your own voice: While it's important to learn from other artists, it's also important to develop your own unique artistic voice. Take time to reflect on your own experiences, interests, and perspectives, and try to express them through your artwork in a way that is authentic and meaningful to you.

           6. Be patient and persistent: Developing your artistic skills and finding success as an artist takes time and persistence. Don't get discouraged if you experience setbacks or rejection along the way. Keep practicing, experimenting, and pushing yourself to grow as an artist, and success will come with time and dedication.

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Find more information and works at www.yonkeart.com

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