NYU Black Renaissance Noire Volume 18 Issue 1 - Winter 2018 - Page 108

n Foad Satterfield Narrative #3, 2016 Acrylic on canvas. 78” by 52” Foad Satterfield Woodfox #3, 2016 Acrylic on canvas. 48” by 96” While water remains an important feature in my works today, I have started to include in my view the dynamic power of the land. I am awed by all that I observe, while being outdoors and try first to internalize it and then to represent it. I want my paintings to reflect the understanding that every facet of our ecosystem, from epically large to infinitesimally small, is inextricably related and mutually informing. The unifying environments I create invite the viewer to not only embrace the whole they witness within the painting, but to recognize themselves as being integral to that vitality too. They are meant to be the antidote to our overscheduled lives and to provide a nourishing, reflective opportunity to pause and reconnect with our innermost selves. In addition to that, I continually ask myself, “What impact can I have?” This harkens back to my time growing up in Orange but also to my days at lsu. Though my chosen subject of nature may not seem political per se, I view them as so. At a minimum, they are related through me, as a caring instrument, putting all of my own experience onto the canvas, but also in the completeness of what I am trying to capture. My intention for my paintings is to encompass the whole experience: negative, positive, beautiful, heart-wrenching, seen, and unseen. With these works, it has come full circle for me. I’ve always tried to live equally in my mind and heart and have spent quite a bit of time in nature exploring the relationship between observation and feeling. Since my days back in Orange, I’ve had a strong inclination to do so. Looking back, I am so touched by the experiences that have continuously shown up for me at pivotal times throughout my life. Because of this good fortune, I’ve been able to move from platform to platform. I also know I am who I am now, because of everything that came before me. These connections are clear to me, and aren’t confined to me personally, obviously; they are present for every part of our existence — it’s all interrelated, one, and complete. When Foad and I wind down our conversation, the bottom of my tea has gone cold. Just part of the experience, I think, and gulp down the rest. I begin to ponder more the idea of interconnectedness, and mull over the fact that it can be deceptively simple in a way — sure, we are all humans on this floating orb called Earth. But it is in sitting with it for a while that its true breadth unravels and reveals its many, many complex layers. The painter from Orange, Texas, perceives all of that and presents it to us through his panoptic art to take in and experience it for ourselves. Foad is part of this vast network, has an active dialogue with it, and gives back to it with his creations, which in turn entice us to recognize our own links to its continuum. Step into his paintings, let your own imagination take hold, and fall into its supportive web, ever present and just there waiting for you. n Megan Wilkinson has spent the last 17 years working in the San Francisco Bay Area museum and gallery world. Currently, she is a freelance writer, art consultant, and practicing artist who has a passion for life-long learning and traveling. Foad Satterfield Cenotes Uxmal, 2014 Acrylic on canvas 60” by 64” n n