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About Elizabeth Amini

Elizabeth currently resides in Los Angeles, California where she is actively working on her next series. She has won more than 25 awards in the field of design and recently created a permanent installation for the Technisches Museum in Vienna. In her spare time, she learns from artists both living and deceased by traveling around the world, visiting museums, art galleries, and private art studios.

Elizabeth's work is unavailable on the open market because she donates all of her paintings to charities. Those wishing to buy a painting or commissioned work can e-mail us in order to be connected with the charity that owns that piece of art or will receive the commission once the painting is completed. Charities wanting artwork can e-mail us with a brief description of their services in order to be added to the charity review list.

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About Elizabeth's artwork

I have loved art since I was a child. My father taught me how to paint realism and supplemented my education by taking me to museums and pointing out the works of Claude Monet, Pablo Picasso, and Salvador Dali. One day, when I was nine, I opened a library book and discovered a Rorschach inkblot. It instantly struck a chord deep within me. My parents explained that each individual interprets an inkblot in his or her own unique way. I was fascinated. I started painting using inkblots.

In my late teens, I began to plan my abstract artwork rather than just making haphazard paintblots. In making an image, I create studies with pencil on paper or often directly on the canvas before I commence painting. I plan the flow and organic movements of the work and am disinterested in the traditional notion of positive and negative space within an image. This premeditation is important for me because it is the foundation for the depth of the piece. As I apply color, I watch the story unfold, focusing on the areas that are most relevant to the introspection. My goal is to trap emotions in space and time and my desire is that my art evokes introspection and interpretation in my audience. I enjoy listening to others interpreting my work. My artwork is like a mirror: it reflects the thoughts and emotions of the viewer.

Most of my paintings have multiple orientations and can be fully rotated, to be seen in various aspects. One of my techniques involves painting by candlelight because it enables me to build a degree of subtlety into the work. I did not know that Francisco de Goya also painted by candlelight in a similar manner so I feel connected on some fundamental level to him. I have always loved Goya's skies and backgrounds. I take much of my inspiration from the artwork that I have seen in museums.

Science and philosophy also play a large role in my work. In college, I studied considerable amounts of science and my enchantment with cognitive science, molecular biology, quantum physics, neurobiology, and existentialism occasionally surfaces in my artwork. Because I worked at NASA's Jet Propulsion Laboratory for five years, my work often contains astronomical themes and juxtapositioning of micro and macro viewpoints. In terms of formal art education, I dropped out of my college’s art program because it occurred to me that I would learn more if I traveled and visited museums and galleries around the world instead of sitting in the classroom. I did just that, visiting museums in Europe, Eastern Europe, Asia, and the Americas. These unforgettable experiences fueled my creative powers in ways that surpassed all of my expectations.

I hope that this will give you a sense of the lens and intention from which I create my paintings, realizing all along, that the viewer will do with them what he or she will. I like the idea that my work, perhaps like all artwork, is self-reflective.

 

About Elizabeth's multimedia portraits

The intersection of art and technology fascinate me. To create my multimedia portraits, I first scan a photo, sometimes taken by me and sometimes not, into the computer. Using Photoshop, I manipulate the image to look like a watercolor portrait. I then take microsamples of color, perhaps of a portion of skin tone, and using a digital tablet and pen, I “paint” into the photograph in order to better capture the subject’s soul and essence. If the original photo and the portrait were to be shown side by side, one would be a lifeless photo, which may or may not look very much like the subject, and the other would be a portrait that makes the subject's loved ones gasp and say, "you've captured his spark!"

People often ask me if I could paint my portraits in a traditional manner. The answer is no. I am proficient at painting realism; I understand the rules. I doubt I could capture the subject's soul as effectively using a traditional method (though the use of mirrors in realism during the Renaissance age begs the question of exactly what degree of non-technical painting is required to be considered traditional realism). More importantly, my personality won't allow me to complete a realistic painting over time. I copied Ansel Adam's “Mt. McKinley, Wonder Lake” as a technical exercise, and halfway through, instead of finishing the realism of the foothills, my dog Van Gogh appeared in the right hand corner. She was smiling and leashless in protest of the fine we recently received at a nearby state park that forbids dogs. Later, I was tickled to learn that Goya had painted his dog into one of his paintings as well.

   
   
   
   

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