Reflecting on my adolescence, I could always recount all the differences between the two different cultures I've existed within. Between the two totally different ideals of life in China and the United States one thing was constant between the two places, they both had McDonald’s. McDonald’s played a large role in my childhood as it became my point of familiarity between America and China. As I delved deeper into my association with McDonald’s I realized how strange having a McDonald’s in China was. I thought to myself a symbol so distinctly American existing in China would stick out like a sore thumb, except it doesn't. With globalization happening at a rapid pace I realized my position within this matter. I am one of many who contribute to globalization in part for its convenience and familiarity, yet it comes at the cost of eroding the local cultures and traditions. Thus, in this piece I confront my own participation in contributing to the predatory and perpetual cycle of capitalism and question the moral crossroad we arrive at when positioned against capital gain.
Inspired by Robert Rauschenberg and Andy Warhol, I employ the uses of silkscreen techniques to create a self portrait collage that addresses globalization and capitalism. As Nicholas Mirzoeff states "Seeing the world is not about how we see but about what we make of what we see. We put together an understanding of the world that makes sense from what we already know or think we know'' (Mirzoeff). By using symbols and recognizable logos, I aim to draw connections between these elements to create a self portrait collage that expresses a personal narrative whilst addressing said subject matter. I incorporated the McDonald's slogan in both English and Chinese as a means of representing the two opposing cultures that both McDonalds and I exist within. Both Raushenberg and Warhol utilized found images for their works and I draw from that tradition but adjusting the approach with additional influences. I decided on images that had an essence of me that allowed me to express a narrative. Furthermore, I borrow from Warhol’s technique of repeating images as a means of repetition and as a means of emphasis.
"Each time a painter realized that he was dissatisfied with the traditional role of painting as a celebration of material property and of the status that accompanied it, he inevitably found himself struggling with the very language of his own art as understood by the tradition of his calling" (Berger). As I experiment beyond the traditional notions of self portraiture and narrative I seek to push the boundaries of what is self portrait and what isn't. Inspired by Hannah Höch's approach to her creations, I approach my work with a similar attitude by creating freely. I allow the idea to emerge and transform over time until the final image reveals itself. I usually begin by laying down foundational marks that set a tone for the painting, just as a musician would begin with a baseline or drums to build a song off of. Then, from there I begin to incorporate and layer images. I continuously adjust the composition to my liking until the end image is resolved.
Shaun Leonardo expresses that “Artists need to take in, to process, to decipher, to separate from the noise and create things that are beautiful and impactful to the spirit.” (Soto, 18) Art has the power to communicate what we cannot with words. Through my self portrait collage I’m exploring personal and cultural narratives whilst utilizing it as a means of reflection for the period we’re living through.
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Berger, John. Ways of Seeing. Penguin Books, 1972.
Mirzoeff, Nicholas. How to See the World. Basic Books, 2016.
Soto, Edra. “Performance, Pedagogy, and Philosophy.” Hispanic Executive, 1 July 2022, hispanicexecutive.com/shaun-leonardo/.
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