Bigindicator

Terence Sullivan

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20120224165024-i_wish_you_loved_me_like_in_fims_terence_sullivan
I WISH YOU LOVED ME LIKE IN FILMS, 2011 Acrylic & Oil on Canvas 26 X 36
20120224171145-i_don_t_know_myself_because_of_you_terence_sullivan
I DONT KNOW MYSELF BECAUSE OF YOU, 2011 Acrylic and Oil on Canvas 36 X 52
20120224182434-i_want_you_to_take_me_apart_terence_sullivan
I WANT YOU TO TAKE ME APART, 2O11 Acrylic & Oil on Canvas 36 X 52
20120224182930-you_are_not_mine_to_have_terence_sullivan
YOU ARE NOT MINE TO HAVE, 2012 Acrylic & Oil on Canvas 32 X 38
20120224183028-pleasedontleaveme_
PLEASE DONT LEAVE ME, 2012 Acrylic & Oil on Canvas 44 X 32
20120224183115-i_love_you_more_terence_sullivan
I LOVE YOU MORE, 2012 Acrylic & Oil on Canvas 30 X 44 © 2012
20120224183259-i_wanted_to_be_you_terence_sullivan
I WANTED TO BE YOU, 2012 Acrylic & Oil on Canvas 44 X 46
20120224183358-iwantyoutoseeme_web
I WANT YOU TO SEE ME, 2012 Acrylic & Oil on Canvas 26 X 36
20120227194435-screen_shot_2012-02-27_at_2
Quick Facts
Birthplace
Livingston, New Jersey
Birth year
1986
Lives in
Richmond
Works in
Richmond/ New York
Schools
MICA (Maryland Institute College of Art)
Tags
love me like in films painting
Statement

This body of work is a series of confessions, lust, loss, disappointment, and the overwhelming need to be loved.We, as audience members, find ways to project our emotions and desires onto film characters and the saturated world in which they live.This projection can ignite within us both inspiration and self-destruction.The comparison opens our eyes to the residual bruising of past relationships and the shortcomings of what may be our current relationships.

The layer of gold text on top of the appropriated portraits acts as not only an emotional confrontation, but also as a plea for a more intense and beautified life.The gold paint is a nod to the heightened drama of cinematic love.The use of stenciled letters removes the element of an identifiable hand. By removing the deeply personal element of handwritten words, the viewer can find their own confessions in the fragmented phrasing.

The objective is to have the viewers find themselves in each painting without feeling like voyeurs in someone else’s love story.There is a sense that the moment in each painting is fleeting and will eventually pass.The comparison can be made that, like films, relationships can be intense, unattainable, and can leave deep impressions long after they are over.