Yin Yang Collection

I was first introduced to a different culture than my Brazilian one through my favorite childhood character, Sakura Kinomoto. A student in the town of Tomoeda, Japan. And Shaoran Li, Syaoran. A young Chinese sorcerer from Hong Kong. It was here that my fascination with magic, yin-yang, and flowers took place.

So the common thread I realized was the obsession over a subject. A subject beyond art itself. So now what is it that I love to know more about? And a true obsession is the being. Beginning of life, of the universe, and of this mystery we call life.

And from here everything fell into place. Genesis, Yin Yang, poems, and numerology.

Now the theme was set. Now on to the next challenge titles. When deciding how many pieces the collection would have, I thought let’s incorporate numerology and poem.

The Yin Yang Collection marks my debut in the world of painting, even though I explored various art forms while pursuing my BFA in Art Education, including etching, clay, and wax sculpture. It was during a basic oil painting class that my passion for painting was ignited. When the opportunity to pursue my MFA presented itself, I saw it as a chance to join the Mastery Program at the Milan Art Institute. This program equipped me with the essential knowledge needed to establish myself as a professional artist. I came to understand the meticulous planning required before applying paint to the canvas. I made a deliberate choice to create a series of 12 paintings, guided by my fascination with the number 3.

The process involved projecting images onto the canvases, sketching with charcoal, and embracing the unpredictability of the paint. My canvas serves as a realm where brushstrokes embark on unique journeys, and I willingly surrender control to allow inspiration to flow freely. As I look forward, I’m driven to continue my artistic evolution with boundless purpose and creativity. Through my art, I aim to resonate with viewers on a profound level, inviting them to explore their own spirituality and engage with the surreal aspects of existence. My art is a transformative journey into the unknown, an odyssey of exploration and enlightenment. “The Yin Yang Collection” introduces a symphony of existence where history, culture, and personal revelation intertwine. It pays homage to the Yin Yang symbol’s creator, Zhao Huiqian, and explores the symbolism of duality in existence. The narrative then delves into my family’s surname, “Ribeiro,” connecting to regions like Galicia, Portugal, and Brazil, symbolizing a link to the earth and flowing waters. It also celebrates our unique naming tradition, inspired by the Portuguese word for “flower.”

Acknowledging the inaugural creation of the Yin Yang symbol by Zhao Huiqian (1351-1395 CE), titled “Tiandi Zhiran Hetu” (Heaven and Earth’s Natural Diagram of the River), is an act of respect and homage. The surname “Ribeiro” is frequently encountered in regions such as Galicia, Portugal, and Brazil, symbolizing the concept of a “small creek” or a presence “by the river.” Within Galicia, this name underwent a transformation into the Castilianized rendition known as “Riveiro.” {Additionally, it is worth commemorating my grandfather’s unique naming tradition, wherein he and his eleven siblings received names inspired by the Portuguese term for “flower,” which is “flor.” This practice gave rise to a series of names including Florentino, Floraci, Florice, Florito, Florsilvo, Flormena, and Flor}

From my earliest days, a deep fondness for flowers has resonated within me. Playfully, my mother would draw a resemblance between me and her own mother, both of us drawn to adorning ourselves with floral motifs. Additionally, my father contributed to this love by frequently sending me flowers at school on my birthdays. As life unfolded and my daughter Belle came into the world, my affinity for flowers gained a new layer of significance. Especially when it comes to our daughter Belle, my unwavering fondness for roses always shines through. This preference is deeply rooted in the enchanting tale of “Beauty and the Beast,” where the character Beauty holds a special place in our hearts.

The Yin Yang Collection delves into the profound of Chinese philosophy, examining the intricate dynamics of creation through chaotic energy. It encompasses four core principles: Opposition, Interdependence, Mutual Consumption, and Intertransformation. Within this philosophical framework, Yin embodies darkness, femininity, passivity, and the grounding force of the earth, while Yang represents the sun’s radiance, masculinity, activity, and the expansive energy of the heavens. The interplay of these opposing yet complementary forces gives rise to the vitality of life, symbolized by the enigmatic presence of the rose.

The rose, laden with traditional symbolism, conjures notions of romance, love, beauty, and courage. Rooted in ancient mythology, roses stand as symbols of eternal love, manifesting in stories of divine interactions between gods and mortals. In Christian tradition, red roses bear profound symbolism, representing Christ’s sacrifice and the shedding of his blood, occasionally linked to the Virgin Mary. Pagan cultures also embrace roses as ornate embodiments of their innermost sentiments. Elevated as the regal “queen” of flowers, roses exude power and mystique, tapping into the heart chakra’s energy, and fostering a profound connection to emotion and spirituality. Thus, roses have become cherished gifts, marking the initiation and culmination of life’s journey—an enduring testament to their timeless significance.

The Yin Yang Collection encapsulates the enigmatic dance between light and darkness, femininity and masculinity, and the everlasting allure of the rose—a tribute to its enduring role as a symbol of love, beauty, and the inherent duality woven into existence. In a realm where eccentricity weaves enchantment into reality, my joy arises from crafting creations that encapsulate the essence of my beliefs—pieces brimming with meaning and mythical allure.

In a realm where eccentricity weaves magic into reality, I find joy in crafting creations that embody the essence of my beliefs. Pieces that overflow with meaning and mythical charm.

As I embarked on the journey of the Yin Yang Collection, the first six pieces manifested differently than what I anticipated. I tend to say that I can feel God guiding me while I paint. The brush comes alive and has its own will.

I decided to divide the Yin Yang Collection into 3 distinct collections. Each collection will have 12 pieces.

1st Yin Yang Collection {Collage} – Fragments
It has collage elements that when you look created a fragmented texture. This represents the challenges in our lives. The pieces that when you look, even though they are painful, make you.

2nd Yin Yang Collection {Harmony} – Oneness
It has elements of Yin and Yang in each other. It represents the balance that is needed for a peaceful and joyful life.

3rd Yin Yang Collection {Non-Finito} – Unfinished
It is not finished, as life, is an eternal journey.

In poetic titles, the convergence of poetry and visual art spawns an array of captivating possibilities, enriching the realm of creativity. Art exhibitions become vibrant tapestries where poets seize the stage, captivating the audience with readings that infuse vitality into artworks. These poems, kindled by specific pieces, yield an immersive experience, bridging visual and literary realms. Found poetry seamlessly intertwines with artistic expression, as snippets of verse or poetic phrases find their home within paintings. Whether subtly integrated or overtly showcased, these poetic fragments infuse an extra layer of depth and contemplation into the artwork’s core. Bestowing paintings with poetic titles is an established tradition, infusing the visual with the power of language. This linguistic lens imbues creations with fresh dimensions, awakening perspectives, and emotions harmonizing with the visual narrative.

Visual metaphors unfurl as painters embark on journeys to visually interpret sentiments and themes nestled in poetry. The canvas evolves into a stage for the artist’s translation, magnifying the written word’s impact through vivid imagery. The enchantment persists through ekphrastic poetry, a form that employs verse to mirror the visual. Poets respond to paintings, drawings, or sculptures, capturing the spectrum of emotions, hues, and scenes depicted in the artwork. This symphony of the written and the visual mirrors the intricate dance between two creative worlds. I began the creative journey with digital sketches, valuing the inherent simplicity and flexibility of this medium. The ability to freely pour out ideas without the fear of permanence is a gratifying approach to engaging in the art-making process. Presented below are the initial digital sketches, followed by the transformation of these sketches into distinct, standalone art pieces.

Yin Yang {Collage} Collection

In the darkness, there is light. In Yin’s paintings, the light is right at the center. It is yellow and bright, the complementary color to the purple which occupies most of the painting. The paintings represent the beginning of existence. As the universe forms in the vastness of darkness, God spoke light into being, and in the beginning, there was a rose—an unfolding of light and color. As it expands, it dances beautifully and forms these mesmerizing petals. In water, there is fire. In Yang’s paintings, the fire is again right at the center. It is orange and bold, the complementary color to the blue that dominates most of the painting. The paintings represent the division of heaven and earth. God had just spoken light, and now he divided the horizon; water and sky appear. This unfolding creates waves that gracefully form into petals.

Transitioning from digital creation to canvas painting presents an entirely distinct experience, one that’s marked by heightened vibrancy and sheer enjoyment. The tactile engagement with the canvas brings about a level of pleasure that digital platforms can’t quite replicate. Interestingly, my digital experimentation often serves as a precursor, allowing me to chart a course toward my desired end result and enhance the overall painting process. For this particular endeavor, I opted for a gallery wrap canvas, notable for its four-inch depth. The substantial thickness of the canvas adds a unique dimension to the work. To initiate the creative process, the primed canvas served as my canvas of exploration, onto which I projected the sketched image using charcoal. My initial steps included introducing texture through gesso and stencils. The first layer was crafted using acrylics, establishing a loose foundation. As I advanced to the second layer, intricate details were meticulously woven, employing grayscale techniques to instill depth. Acrylics, known for their quick drying nature of around four hours, prompted a swift-paced approach.

The third layer unveiled a captivating transformation, as a glazed layer took form through the harmonious blend of transparent oil paint and galkyd medium. This innovative combination yielded a lustrous, translucent surface that I’ve come to adore. The resulting effect is reminiscent of precious jewels, imbuing the painting with an enchanting allure. As the fourth layer unfurled, opaque oil paint became the medium of choice. This stage permitted the creation of heightened dimensions through the interplay of darker shadows and luminous highlights. Yet, what transpires during the act of painting is akin to a living entity with its own agency. Although I begin with printed sketches for reference, the process of painting takes on a life of its own. Brushstrokes assert their autonomy, often diverging from my initial intentions. This organic evolution often leads to delightful surprises – the transformation of the canvas, and by extension, myself. The end result can be so profoundly altered from my original vision that I’m occasionally astounded, hardly recognizing my own hand in the masterpiece that has emerged.