©2017-2018 by Reciprocal art magazine

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    David Esquivel

    "My work has always been about time, about what was here at the beginning. A wide variety of elements coalesced and continue to live together harmoniously in these very different worlds. Those relationships are the heart of my work."

    Wudang, 2018, acrylic on canvas, 10 x 11 in

    You taught yourself to paint after graduating high school- what prompted you to start painting?


    Leaving high school I knew I wanted to be an artist. I was set to go to college, went for a week, and realized I wasn’t going to have enough money to pay for it. I don’t even know if that’s considered dropping out but after that I had to decide how to become a legit artist. I wanted, and still want, to be a sculptor but I didn’t have the space or resources for that. In the beginning I was drawing mostly but felt it was important to step up to painting to get more out of my work. It was really hard in the beginning trying not to be just someone painting but to actually become a painter. I’ve been doing it for six years and am only now starting to feel comfortable.

    What do you want the viewer to take away from your paintings?


    I just want them to feel different. Hopefully, whatever I made was able to move them around a little and put them in a different space, shake up all they need to see the world a little differently.

    Who or what are some of your influences?


    Alberto Giacometti is my main influence. It’s so incredible how powerful and dense his work is. The stories he tells with his work is something I strive for. Also the director Paul Thomas Anderson is another influence. Like Giacometti, he makes work that you really feel all that it is to be alive and human.

    Could you talk about some of the recurring objects within your paintings, and how they interact with one another?


    In the beginning, I was making free form objects and kind of arranging them so that the compositions felt interesting. All of the objects must contribute to the balancing act to move the viewer through the piece. I still work the same way but now I throw some mountains in there. I started doing that to add a recognizable form that would hopefully add a sense of scale.

    How would you like to see your work evolve in the future?


    I would love to make giant paintings. Also I would like to experiment with creating three dimensional spaces, to get me and the viewer out of our heads.

    left: Hiromeya, 2018, acrylic on canvas, 7.75 x 9.5 in

    right: Titicaca, 2018, acrylic on canvas, 10.25 x 12.5 in