As mentioned in a previous entertainment feature (“Something Big, Thick, Meaty and Lovely to Behold”, San Diego LGBT Weekly issue 116), I collect and display the works of local artists; examples of their oeuvre adorn the walls of the long entry gallery in my North Park condominium. One such artist whose paintings I am proud to own and display are the vibrant, abstract expressionist creations of native San Diegan, Ray Diaz.
Diaz, 41, after a successful career in graphic design, focused his creative energy on painting in 2009. Viewing Ray’s work is to experience being immersed in the world of paint. Ray and I have been friends for many years and it has been a pleasure watching his skill and style evolve. Even though he’s never received formal training in painting or art history, his early pieces showed great potential and were reminiscent of Jackson Pollock and Mark Tobey. Through time, he became more adept at the use of shading and balance, and more disciplined in the introduction of color. Subsequently, his work became more evocative and reflected the self-restraint of a maturing artist.
Today, Ray is delving into new visual styles and application techniques. Using a mix of art and science, Ray’s artistic vision reinvents and modernizes the impasto method, creating a unique 3D effect. When viewed on their merit alone, the paintings already provide stunning depth and texture, but when viewed through 3D glasses, the colors explode into space.
The following interview is transcribed from a recent conversation. We hadn’t seen each other in a while, and we arranged to “catch up” one recent warm autumn afternoon.
Lance Ryder: Tell us a little about your background. What inspired you to start painting?
Ray Diaz: I have a strong graphic design background. I started by doodling a lot in school and then got into computers. Then the whole computer graphic design career emerged, so naturally, I was attracted to graphic design. I worked for print shops for a number of years before I began freelancing. What got me started painting was shopping at Planet Funk, my favorite store in Horton Plaza. They had these belts that were painted but they were reproduction pieces, copying other artist’s work. I thought that was a pretty cool idea, so I went home and started painting belts. I was getting good feedback from customers and selling them off my pants. Then I decided, well if people like this, then I’m going to try painting large, and right away, started selling them.
Have you had any formal training as an artist?
I taught myself how to paint. I had no lessons whatsoever. I started teaching myself, and once I got started, I started impressing myself. I’ve always thought I had an eye for style, for what works, and what doesn’t. Each time I painted something, it made me want to challenge myself more. I try not to repeat something I’ve already done.
It’s been a pleasure watching your style evolve. What’s next?
I can’t tell you what the next step is. I don’t know what the next step is. The piece itself will tell me what the next step is. I’m always trying different things. I had an immediate passion for painting, and every time I start something new, I’m trying to impress myself.
Texture is an integral part of your work. It’s definitely an impasto style, but you seem to be reinventing the technique to create depth.
The texture really is an essential part of the piece; it brings different parts into the foreground.
How do you achieve the effect?
It’s all paint. If you slice through the embossed areas, you’ll find layers of paint.
I work with a variety of paints in heavy amounts, and accumulate the paint, not really shaping it, but pouring it down. Then I might cover the entire painting with a layer of spray paint before adding the next thick layer. While it’s wet, I keep playing with the paint.
The last exhibit of your work I saw was accompanied by 3D glasses. 3D is hot now, but your paintings stand on their own. I thought the glasses were a gimmick. Was the 3D effect an accident, or was that intentional?
There’s this company called ChromaDepth that manufactures 3D glasses. Their process is based on the three primary colors, so red, yellow and blue appear to float in space.
(Author’s note: according to Wikipedia, “By using prism-like holographic film fitted into glasses, any media piece can be given a 3D effect as long as the color spectrum is put into use with the foreground being in red, and the background in blue. From front to back the scheme follows the visible light spectrum, from red to orange, yellow, green and blue. As a result, ChromaDepth works best with artificially produced or enhanced pictures, since the color indicates the depth.”)
A friend of mine was at an event where the artist was handing out 3D glasses. He said the effect was good on the pieces, but on my work, would be amazing. So I went online and ordered a few pairs, and they’re fun, but they’re not necessary. And you’re right; the pieces stand on their own.
Your paintings are large, but have you thought about going bigger, and I mean, wall-sized?
I’d love to paint on a larger scale, but I don’t have the room in my garage. And I paint flat; I don’t paint on an easel. I’d need to come up with some sort of scaffolding mechanism and hang over the canvas, but yes, I’d love to do really huge pieces.
I understand you’re now represented by an agent.
I’ve been working with Tim Rooney. He stresses the importance of the artist owning their work at all times. I control the property. He’s big into copyrights, and making sure that what’s mine is mine. It’s also about marketing and creating an image – franchising, portfolios, that sort of stuff. There’s lots of interest in my work from galleries in San Francisco.
Are you hanging in any galleries?
I am not hanging in any galleries, but that’s where we’re going. Right now the emphasis is on shows for exposure and generating interest in an emerging artist. Buyers are always seeking emerging artists. The idea is to have a show where a bunch of people are coming in, instead of just hanging a piece or two.
Two-dimensional representations of your work don’t do them justice. How can people get in touch with you?
They can find me at raydiazart.com. The site is still under construction, but you can get reproductions. No matter how good the picture of the work is, you really don’t get a sense of the painting’s depth, the texture. So I will only publish photos that best represent my work.
What else are you working on?
I hope to start touring next year. I’m also putting together a coffee-table book and other merchandising. I love working on T-shirts, jackets, creating wearable art, purses and heels. I’ve also painted several coffee tables. They’re glass-topped tables and I actually paint on the glass. I’ve also painted on glass shelving and table lamps.
Tell us about your upcoming exhibition.
It’s happening Saturday, Nov.16, at Pilates Plus (1940 Fifth Ave., Suite #301). More information is available at www.pilatesplussandiego.com, or phone 619-231-8030. There will be alcohol. Alcohol makes the checkbooks open up.
Any final thoughts before we wrap up? What else do you want people to know?
I love painting and the feedback; I like to spark an emotional response. People get excited when they see my work. The viewers may want to try and dissect my work, but don’t do it. This art dealer in Ramona, she looked at one of my paintings for the first time, and she said, “How did? What did? What kind of? Wow! This is beautiful.”
I know the experience of the dealer. I’ve tried to deconstruct a piece of yours I own, Conspiracy, and it’s impossible to figure out how you do what you do.
Just enjoy it. I hope people are going to look at art and see it in a different way.
