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 IT WAS SO
Kamishly, 1976-1988
A little boy views his surroundings in sepia, in a place where
romance veiled it self.
I grew up in a city where nature and architect elected to
reserve their display of color and beauty. The grass and trees
were scarce, and the houses were all made of mud bricks or
cinder-blocks. I remember, as a child, once gathering for a
picnic around a single tree. Did this serve me at a later date,
and did it set the foundation for my appreciation of color?
We’ll find out later. Also, in that part of the world, the display
of romantic affection was regarded as a sign of weakness. Not
to say that love and affection were absent, but simply, the
outward display of them was a foreign act. Where am I going with
this?
SITTING ON A RED BENCH
NYC Studio, 2007
A French Artist and a Young Movie Director
One evening, in Feb of 07, a French artist and a young
Mexican film director stopped by my studio for a cup of wine.
The artist I already knew and with him he brought this young
film director from Mexico—who happened to be visiting the city
for a few days. After a brief introduction they both sat down on
my red bench, which I have in my studio; I sat on a chair across
from them. We talked for a while and at some point in the
evening the director started to study my work with “Untitled
#1-05” catching his attention. I’m not sure how, but all of the
sudden, as if I was not present in the room, a discussion began
between the two of them. So I sat there quietly, listening in to
a very mesmerizing discussion between the two. I will share with
you a couple of comments this director made. He, still gazing at
the same painting, commented to the French artist, “...I see a
lot of romance in his work and figures of women are detectible throughout. …I can tell he’s very well familiar with his
feminine side. He seems to have the ability to relate to how she
feels in her natural way and bring it out in his work. Yet at
the same time I feel as if he’s trying to hide all this from us,
as if he’s scared to bring it out and share it!” The discussion
continued a little longer and was concluded by the artist
standing up, and signing on a piece of napkin “John, it’s a pity
you were not here.” He then handed it to me as if I had just
walked into the room.
HOME SWEET HOME
Childhood
Parents, Siblings, Expectations & Reality
I’m a twin. My sister and I are the youngest of four
children, to parents Neil and Janet Haro. We were raised in a Christian
home with parents that nurtured and provided for us to their
fullest ability. We lacked nothing; yet when the time deemed it
right, our parents decided to leave behind everything they built and come to the United States in order to establish a better
future for us. While I credit my artistic side to my mom, she
always pushed me to find a more stable career. That is the case
with most Middle Eastern families. Doctors and lawyers are on
the top list but few other things are also acceptable. I went
along and made it to my 2nd year in college. But as
reality eventually kicks in I found myself drawn more and more
to the artistic world. At the age of fourteen I held a job in a
café next to an art gallery; it was a place where I spent alot
of time, learning and absorbing different art and artists. I
would credit that event of my life to unlocking my desire to
becoming an artist; it was there that I took the first steps to
pursue art in the years that followed.
ART & ARTISTS
Discovery
Making of an Artist, Studies and the Worthy Question
Is someone born an artist? That question is often asked.
My simple belief is this, while you may decide not to be one you
can not decide to be one. Schooling is another pondering
question! For me, I never had the opportunity to pursue an art
degree. Was it a necessity? Does it make an artist? Does it
establish him or her? Of course not, otherwise we’d have to scrap
some major names from the history of art. I simply look at it as
an accelerator to obtaining your education. But like many things
in life there is usually more than one path to reaching your
standing; and this applies here. The last ten plus years have
been a great journey for me. I’ve read, studied, tried out, and
conversed in the way of art, and all these things have been my
education. The question you need to ask of an artist is this, do
they offer a unique and personal voice in their work. If the
answer is yes, then their realization has been achieved.
DISCOVERING A VOICE
Inspiration
Influence, the Subconscious Mind, and the World Around You
What influences you? What were you thinking about? What
inspires you? I’m often asked these questions. If you ask those
who know me well you’ll discover that I’m generally a quiet
person. I prefer to listen than to talk and to observe the world
around me. I seek beauty in persons and in things—I refer to the
outward beauty at this point—which are a great inspiration to
me. Beauty of a woman, fashion, design, and color are my outward
inspiration, experiences and life events are the inner ones. Am
I sometimes scared to delve deeper? Am I scared to display or
share things? Do I keep that part a mystery? Perhaps! Perhaps
the young director expressed it well earlier, but it’s not for
me to dwell upon.
When painting, I mostly start with an individual color or shape.
It’s what my subconscious mind has returned from musing over the
events and experiences of my life. When I am done with a painting, it would usually remind me of that certain event or
experience which I then use to title the piece.
THE SUM OF ALL THINGS
My Voice
Expressing it All, in Simplicity
I recently narrowed my work and voice to a simple
descriptive statement that ties everything together, and that I
now use as an expression; that statement is the “Romancer of
Color.” I believe this very well expresses it all.
What is next, where am I going from here, what does the future
hold? It’s yet to be determined, but I hope you to tag along
with me in the coming years.
Yours Truly
John Haro |