2014 International Art Festival

Artist Official Entries

Nils Hasche-Vasquez

Brooklyn NY USA
Nils Hasche-Vásquez’s current work, entitled New York City Windowscapes, are a group of paintings depicting a variety of window landscape scenes of NYC and beyond. The Windowscapes depict personal views witnessed, synthesized, and photographed by the artist of archetypical views of NYC from and through windows. These images purposely comprise closely cropped dwellings crammed together that have unexpected little surprises, moments of glory, and details that especially someone who has lived in NYC might appreciate. Hasche-Vasquez’s Windowscapes focus primarily on day-to-day life scenes over iconographical references to tourist attractions and the color palette is non-traditional to landscape and is intentionally vibrant and loud. He uses photographs to capture an overall sense of window composition, and they are reference point(s) from which his paintings evolve. As Hasche-Vasquez paints he is acutely aware of the dialogue between the painterly materials he uses i.e. acrylic paint, stretched canvas or stretched vinyl, paint brushes, palette knives and spatulas, the compositional reference point(s) and intuitive and energetic choices made about application of colors within the painting overall. Hasche-Vasquez’s plays with the concept of windows as metaphors through out his artwork; for example, when the paintings include the window frame in the overall composition as they directly and indirectly relate to the edge of the canvas and the picture frame. As well as, the use of clear vinyl stretched over traditional stretcher bars in the traditional shape of a painting canvas that is conceptually and physically role-playing as window because they have similar physical and conceptual attributes, such as transparency, shape, clarity, edge, illusionary view, perspective, color, texture, and vibrancy. Thus the viewer is invited to see the somewhat representational view of NYC through the personal perspective of Hasche-Vasquez’s artistic lens. The longer Hasche-Vasquez chose to stay in New York City the more he, as an individual, was forced to interact with and adapt his understandings of other peoples and cultures. As result, in order to survive living in the city, he adapted his self and his understanding of himself in relationship to everything and everyone else around him, in doing so, he learned, that identity is not something that exists in a vacuum rather it is almost like a living breathing organism of its own informed by the individuals’ composite group of personal experiences expressed in a fixed moment in time and space. In essence, identity is constantly in flux and in some regards is easier to pin down but in its entirety challenging to define in clear-cut terms. Our society tends to define itself by binaries that seek to express one’s self by obscuring essential meaning so for example one is either considered a winner or a looser but not a combination of the two. Hasche-Vasquez argues that by existing in an environment such as New York City there is a constant state of flux that forces people to have more of a sense of the grey areas and sometimes at the cost of the clear-cut ness of solid undisputable sense of identity. As a result significant cultural influences that affect his artwork come from a combination of cultural lenses that he believes are in conjunction with Sapir-Whorf hypothesis. Sapir-Whorf hypothesis comes from cultural anthropology and suggests that different languages have different patterns of thought and therefore different ways of perceiving the world through culture that together with life experiences help shape the speaker’s worldview. Hasche-Vasquez believes that each language one learns is a gateway to another culture(s) and potential worldview(s) and each culture is like a lens of a different color whose combined influences can broaden one’s perspective but also come together like a somewhat complicated and overlapping Venn Diagram or kaleidoscope. Furthermore, Hasche-Vasquez believes his multi-cultural influences stem from a combination of his Chilean and German heritage that are and were heavily prevalent through out his upbringing and through the present coupled with the life and cultural experience of growing up in the Pacific Northwest and spending his formative adult years in New York City. Some artists Nils feels have influenced his work are Chilean painter Cecilia Boisier, Henri Matisse, Robert Rauschenberg, Chaim Soutine, and Edward Hopper
© Nils Hasche-Vasquez | Spring Awakening 4628
2014 Painting | Spring Awakening
Acrylic on Canvas with spatula, 20x26 inches, 2014
USD $1,025
© Nils Hasche-Vasquez | Soul Sprint 4629
2014 Painting | Soul Sprint
Acrylic on Canvas with Spatula, 26x20 inches, 2014
USD $1,025
© Nils Hasche-Vasquez | Patch of Green 4630
2014 Painting | Patch Of Green
Acrylic on Canvas with Spatula, 26x20 inches, 2014
USD $1,025