Jonathan Francisco Daoang
My work consists of various drawings and prints overviewing my own multicultural community and the American Pacific. A visual progression of my artwork shows process of imagery with multiple series prints, stylistic experimentations and interesting compositions of large multiple media drawings.
Collectively, my images represent ties to my background with iconographic and metaphorical visual experiences yet to be explored by American Pacific cultured inhabitants. The product of what influenced my homeland is the direction in so far.
Being from the unique multi cultured island of Oahu, Hawaii I have experience an understanding of numerous Pacific cultures. I appropriate from cultures mostly because of my target audience’s influences. New Zealand’s Maori icon of the frond known as the koru, Japanese cultured import tuner fans for their ornamental designed kintuna knot, and Hawaii’s stacked tiki totem poles are all examples of these influences. I employ rope, as they are to represent a primitive tool for binding to include using them for metaphorical purposes. Finally, boher goat horns specifically to represent a personal use in my ethnic Philippine food.
The choices of media I use are solely for drawing or print making purposes. Charcoal, Indian ink, carbon pencils, pastels, and sometimes oil pastels are my primary choice of drawing media. Dry point on Plexiglas, copper, and zinc plates, lithography, linoleum cuts, and woodcuts are currently my primary choices over all other printmaking processes. High proficiency, in control and knowledge of physical properties of the tools involved with the media types I prefer, is what I strive for as a standard. Along with this initiative, my work conveys an irregular contextual comprehension about chosen visual content and is present throughout the entire body of work.
Recently, explorations of humanistic flaws have inspired a completely new direction of imagery. Of course, I continue to make and standardize my incredibly accurate visual understanding of subjective content; I can only display what I have experienced on an influential yet intimate level.
As an artist, I continue to move towards prolific proficiency in not only media control but to also have complete knowledge of the imagery I choose to convey. The continuation of my art will always present a visual understanding of all the above-mentioned levels of content, comprehensively and intimately as its foundation.
J. F. DAOANG
Discover contemporary artworks by Jonathan Francisco Daoang, browse recent artworks and buy online. Categories: contemporary american artists. Artistic domains: Painting. Account type: Artist , member since 2013 (Country of origin United States). Buy Jonathan Francisco Daoang's latest works on Artmajeur: Discover great art by contemporary artist Jonathan Francisco Daoang. Browse artworks, buy original art or high end prints.
Artist Value, Biography, Artist's studio:
Charcoal • 11 artworks
View allLithographs • 5 artworks
View allLinocuts • 10 artworks
View allRecognition
Biography
My work consists of various drawings and prints overviewing my own multicultural community and the American Pacific. A visual progression of my artwork shows process of imagery with multiple series prints, stylistic experimentations and interesting compositions of large multiple media drawings.
Collectively, my images represent ties to my background with iconographic and metaphorical visual experiences yet to be explored by American Pacific cultured inhabitants. The product of what influenced my homeland is the direction in so far.
Being from the unique multi cultured island of Oahu, Hawaii I have experience an understanding of numerous Pacific cultures. I appropriate from cultures mostly because of my target audience’s influences. New Zealand’s Maori icon of the frond known as the koru, Japanese cultured import tuner fans for their ornamental designed kintuna knot, and Hawaii’s stacked tiki totem poles are all examples of these influences. I employ rope, as they are to represent a primitive tool for binding to include using them for metaphorical purposes. Finally, boher goat horns specifically to represent a personal use in my ethnic Philippine food.
The choices of media I use are solely for drawing or print making purposes. Charcoal, Indian ink, carbon pencils, pastels, and sometimes oil pastels are my primary choice of drawing media. Dry point on Plexiglas, copper, and zinc plates, lithography, linoleum cuts, and woodcuts are currently my primary choices over all other printmaking processes. High proficiency, in control and knowledge of physical properties of the tools involved with the media types I prefer, is what I strive for as a standard. Along with this initiative, my work conveys an irregular contextual comprehension about chosen visual content and is present throughout the entire body of work.
Recently, explorations of humanistic flaws have inspired a completely new direction of imagery. Of course, I continue to make and standardize my incredibly accurate visual understanding of subjective content; I can only display what I have experienced on an influential yet intimate level.
As an artist, I continue to move towards prolific proficiency in not only media control but to also have complete knowledge of the imagery I choose to convey. The continuation of my art will always present a visual understanding of all the above-mentioned levels of content, comprehensively and intimately as its foundation.
J. F. DAOANG
- Nationality: UNITED STATES
- Date of birth : 1988
- Artistic domains:
- Groups: Contemporary American Artists
Influences
Education
Artist value certified
Achievements
Activity on Artmajeur
Latest News
All the latest news from contemporary artist Jonathan Francisco Daoang
Public Lecture and Art Show
1320 NW Homestead Dr., Lawton, Oklahoma 73505
I, along with 2 fellow artists, Roseanna Hamilton and Suny Stanfield, will be hosting a public lecture and art exhibit at The Bakery Emporium in Lawton, Oklahoma. Featured art will include Asian inspired works, women empowerment paintings and diverse graphics designs! Come on out and support!
Lawton/Ft. Sill Arts Council Exhibition
620 SW D Ave., Lawton, Oklahoma 73501
This exhibition at the Leslie Powell Gallery in Lawton, Oklahoma will exhibit work from myself and my fellow members of the Lawton/Ft. Sill arts council members! WWW.LPGALLERY.ORG
Artist Statement
My work consists of various drawings and prints overviewing my own multicultural community and the American Pacific. A visual progression of my artwork shows process of imagery with multiple series prints, stylistic experimentations and interesting compositions of large multiple media drawings.
Collectively, my images represent ties to my background with iconographic and metaphorical visual experiences yet to be explored by American Pacific cultured inhabitants. The product of what influenced my homeland is the direction in so far.
Being from the unique multi cultured island of Oahu, Hawaii I have experience an understanding of numerous Pacific cultures. I appropriate from cultures mostly because of my target audience’s influences. New Zealand’s Maori icon of the frond known as the koru, Japanese cultured import tuner fans for their ornamental designed kintuna knot, and Hawaii’s stacked tiki totem poles are all examples of these influences. I employ rope, as they are to represent a primitive tool for binding to include using them for metaphorical purposes. Finally, boher goat horns specifically to represent a personal use in my ethnic Philippine food.
The choices of media I use are solely for drawing or print making purposes. Charcoal, Indian ink, carbon pencils, pastels, and sometimes oil pastels are my primary choice of drawing media. Dry point on Plexiglas, copper, and zinc plates, lithography, linoleum cuts, and woodcuts are currently my primary choices over all other printmaking processes. High proficiency, in control and knowledge of physical properties of the tools involved with the media types I prefer, is what I strive for as a standard. Along with this initiative, my work conveys an irregular contextual comprehension about chosen visual content and is present throughout the entire body of work.
Recently, explorations of humanistic flaws have inspired a completely new direction of imagery. Of course, I continue to make and standardize my incredibly accurate visual understanding of subjective content; I can only display what I have experienced on an influential yet intimate level.
As an artist, I continue to move towards prolific proficiency in not only media control but to also have complete knowledge of the imagery I choose to convey. The continuation of my art will always present a visual understanding of all the above-mentioned levels of content, comprehensively and intimately as its foundation.
J. F. DAOANG