Special Edition CHITO PADILLA
JaamZIN Creative
Chito Padilla is a self-taught artist who recently started painting one year into retirement. A Washington, DC resident for over thirty years, he is now a permanent resident of Marshall, VA. "My style is influenced by the abstract expressionist movement which denotes the non-representational use of paint as a means of personal expression. There is no particular system I follow when I begin a painting. Each painting has its own way of evolving. One may start with a few color areas on the canvas; another with a myriad of lines; and perhaps another with a profusion of color. Once I sense the suggestion, I begin to paint intuitively. When the painting is finished the subject reveals itself. This approach is liberating to me and has allowed me the freedom of expression absent of boundaries."
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INTERVIEW How did you become an artist? Is it difficult to become an artist in your retirement? I started painting as a hobby when I retired at age 60. I am self-taught. Aside from a few basic lessons, I have no formal training to speak of like a degree in Fine Arts, for example. I would not describe my late start as difficult because I got into painting as a hobby. In the beginning, I had no great expectations of what I would be able to accomplish. If I got a compliment for a painting, I was happy! It was not until I started exhibiting and when my paintings began to sell that I felt the need to be at least a “good” artist. It has not been that long but I’ve seen my style evolve and my technique improve. What Inspires you? I am inspired by the work of other artists. I suppose that comes from my lack for formal training. When I see a beautiful painting, I tell myself “I’d like to be able to paint like that!” I develop an instant emotional connection to a piece that I admire, regardless of who painted it, famous or not.
Which artists or what kind of art styles do you like the most? I am drawn to abstract expressionism and am an eager student of the New York School.In my short list are Willem de Kooning, Hans Hofmann, Clyfford Still, Joan Mitchell, and Lee Krasner. The American painter William Baziotes describes it best for me: "There is no particular system I follow when I begin a painting. Each painting has its own way of evolving.One may start with a few color areas on the canvas; another with a myriad of lines; and perhaps another with a profusion of color. Each beginning to suggest something. Once I sense the suggestion, I begin to paint intuitively...when the painting is finished the subject reveals itself."
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Eventually, how did you come up with your own art and which art tools do you mainly use? Those who like my body of work have said that my style has such variation that my paintings could have been done by different artists. Other critics might say I have not “found” my style. I take both observations with appreciation. With my lack of formal training, I admitted to my limitations early on. Take drawing for example. While I have great respect for the discipline of learning and using proper techniques, I often succumb to just putting paint onto canvas and see where the exercise takes me. Slowly, I began to “recognize” my style. My viewers can now pick my work when I exhibit with other artists. Perhaps, I will have my “periods” as far as my style is concerned. I will take that as a sign of growth.
If you can turn back the clock, would you want to be an artist in your younger days? I enjoyed my “day job”. It gave me the opportunity to travel the world which I know has enriched my art.I do not regret getting a late start.Perhaps it’s the late start that is fueling my creativity.
DISTANT SHORES
Acrylic on 300g/m2 vellum surface paper, 18x24, Available at PadillaArt.com
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FALLINGWATER
Acrylic on 300g/m2 vellum surface paper, 18x24, Available at PadillaArt.com
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FLYING COLORS
Acrylic on 300g/m2 vellum surface paper, 18x24, Available at PadillaArt.com
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MINNOWS
Acrylic on 300g/m2 vellum surface paper, 18x24, Available at PadillaArt.com
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MOONLIGHT OVER ISCHIA
Acrylic on 300g/m2 vellum surface paper, 18x24, Private Collection
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FIRE AND RAIN
Cold wax and oil on cradled board, 12x16, Private Collection
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MIRAGE II
Mirage II
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ONCE IN A BLUE MOON
Acrylic on 300g/m2 vellum surface paper, 18x24 Available at PadillaArt.com
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PARTI MOBILI
Acrylic on 300g/m2 vellum surface paper, 18x24 Available at PadillaArt.com
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POMEGRANATE
Acrylic on 300g/m2 vellum surface paper, 18x24 Private Collection
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ROLLING IN THE DEEP
Acrylic on 300g/m2 vellum surface paper, 18x24 Available at PadillaArt.com
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SEASCAPE
Acrylic on 300g/m2 vellum surface paper, 18x24 Available at PadillaArt.com
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THE FISHERWOMAN IN CAO VAN, HALONG BAY
Acrylic on 300g/m2 vellum surface paper, 18x24 Available at PadillaArt.com
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TRENCADIS I
Acrylic on 300g/m2 vellum surface paper, 18x24 Available at PadillaArt.com
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TRENCADIS II
Acrylic on 300g/m2 vellum surface paper, 18x24 Available at PadillaArt.com
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SEAWEED
Acrylic on 300g/m2 vellum surface paper, 17.5x17.5 Available at PadillaArt.com
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MOZAMBICAN RHYTHMS
POINT OF CONVERGENCE
Cold wax and oil on cradled board, 12x16 Available at PadillaArt.com
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THE GARDEN OF MERMAIDS
Acrylic on 300g/m2 vellum surface paper, 18x24 Available at PadillaArt.com
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WALK IN THE WOODS
Acrylic on 300g/m2 vellum surface paper, 18x24 Private Collection
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POINT OF CONVERGENCE
Acrylic on 300g/m2 vellum surface paper, 18x24 Available at PadillaArt.com
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WOOLGATHERING I
Acrylic on 300g/m2 vellum surface paper, 12x12 Available at PadillaArt.com
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WOOLGATHERING II
Acrylic on 300g/m2 vellum surface paper, 16x16 Private Collection
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