Most elements have a reason to be, a story, an anecdote behind them. They come from life, nostalgia or desire, frustration.
My practice has always been personal and somehow egotistical. It’s mine and it exists for me to learn about myself and understand myself. It is in its nature very serious, deep and complex, and explores very personal aspects of my persona and very private experiences of mine that more often than not I choose to not share openly. Most elements have a reason to be, a story, an anecdote behind them. They come from life, nostalgia or desire, frustration. Someone that knows me well can probably join the dots, but to the outside it might not be so easy to see past the surface. As time piles up on my shoulders and I get more comfortable and accepting of my own self, two glorious things have happened that have made me both a better person and a better artist:
1 I give less and less of a fuck every passing day
2 I take myself less seriously
So, how do you explain to people as you go about your day what it is that you do? I paint, I say. Then they ask you, What do you paint? What is your work about?
“Right now,” I answer, “Horses and Nudies”.
Working from memory, Cantor’s compositions are romantic, idealised, and often permeated with a heavy sense of nostalgia. The result is paintings that are of all things relevant to him: places, patterns, animals, people, still life, text, plants, and food, where each element works as a vessel for the artist’s thoughts, emotions, and unfolding identity.
Douglas Cantor (b. 1989, Puerto Boyaca, Colombia) studied at Camberwell College of Arts in London, and now lives and works in Glasgow, UK. Cantor's paintings are a biographical exploration of the self. His work is a collection of existential thoughts, phrases, memories, and experiences that create a vocabulary personal and specific to his own history - his Latin American heritage, his time spent away and his experience as an immigrant.
Working from memory, Cantor's compositions are romantic, idealised, and often permeated with a heavy sense of nostalgia. The result is paintings that are of all things relevant to him: places, patterns, animals, people, still life, text, plants, and food, where each element works as a vessel for the artist's thoughts, emotions, and unfolding identity.
Thinking for long periods of time before painting is a practice intrinsic to Cantor's way of working. Images are constructed from their multiple elements and form in his mind before brush ever touches canvas. Despite this, once he begins painting there is no commitment to staying true to these visions. For Cantor, the process of painting is not driven by stylistic or aesthetic choices, but instead a preoccupation with expressing awareness and honesty, intuition, and a desire to move the conversation forward. His paintings are a pictorial tribute to the traces of decisions already made, and an ode to the desire of creating something beautiful.