Frenetic Energy & Raw Immediacy
Tristan
Art is often described as a form of personal and cultural expression, an avenue through which emotions, experiences, and ideas are imbedded onto canvas. Some artists borrow, some innovate, and some, find the perfect balance between the two. For Tristan, art is an act of pure emotion-an uninhibited, visceral language that melds past and present. The frenetic energy of Keith Haring, the raw immediacy of Basquiat, and the bold pop sensibility of Warhol. Yet, it is an instinct, it is distinctly their own-authentic, introspective, and deeply emotional.
When asked about the striking similarities between their art and these three icons, the artist laughs. "That's so weird you say that... but it makes sense. Those are three of my favorite artists."
This journey began in childhood, a time when emotions ran deep, and artistic expression felt like an act of defiance. "I was always an emotional kid, and people told me to suppress that. But now, as an adult, I believe in fully embracing emotions. If you need to cry, cry. If you need to laugh, laugh. That's what it means to be human."
Tristan's artistic approach has been one of deep appreciation for the past while forging their own path. They believe in the concept of "stealing art the right way"— a process of gathering inspiration from various sources, dissecting what resonates most, and then recombining those elements into something entirely unique. They don't see it as theft, but rather as a collage of influences transformed through personal experience and technique. Tristan's practice is steeped in this philosophy. He embraces imperfection, reclaims discarded materials, and paints on the backs of canvases out of necessity and intent. "I didn't have money for new canvases, so I painted on whatever I had. And now, I love the texture, the layers of hidden meaning. There's something beautiful about making art from nothing. There shouldn't be an excuse for not creating something."
The Philosophy of Art & Influence
New York's electric 70s and 80s art scene and the artist's rockstar statue is one of Tristan's inspiration. "Basquiat and Haring weren't just artists; they were cultural forces. They partied with Madonna, they were part of something bigger," he muses. "That energy -that complete, unapologetic expression-it's intoxicating."
Tristan reveres Keith Haring for his accessibility, his belief that art should belong to everyone. "It's not about billionaires and galleries. It's about people. It should be in the streets, in homes, on the backs of notebooks."
Basquiat's defiance resonates deeply. "I can't relate to his experience as a Black artist in America, but I can respect the power of what he did-his rawness, his refusal to fit into a mold. He painted exactly what he needed to, and that's something I aspire to."
Warhol, though polarizing, fascinates him. "His approach was genius-taking the ordinary, commercial, mass-produced, and turning it into art. That repetition, that detachment-it's so strange, and yet it makes total sense.
Despite the appeal of artistic fame, Tristan stresses that their passion for creating is not motivated by recognition or commercial success. "If nothing big comes from my career as an artist, I don't care. I'll still be painting in a garage when I'm 80, just because it brings me joy." That joy is deeply tied to a commitment to authenticity.
Art as a Medium of Emotion and Memory
Tristan's process is deeply intuitive, shifting between spontaneity and meticulous planning. Some pieces emerge fully formed in his mind before brush meets canvas. Others evolve organically, with layers of tape, paint, and found objects concealing and revealing meaning. "A lot of my work is about what's hidden. I cover things up, not because I want to erase them, but because they still need to be there."
This duality-raw honesty versus intentional concealment-creates a tension that defines his work. The more I paint, the more personal it gets. And the more personal it gets, the more I feel the need to obscure some of it. Maybe it's a subconscious way of protecting myself. But I think it also pulls people in, makes them curious."
The Future of Expression
While his earlier work focused on personal emotions and relationships, Tristan feels an undeniable pull towards larger narratives. "I've always painted about what I feel. But now, I want to paint about what I see-what's happening in the world. I have strong opinions, and I think it's time they stop living in my head and start living on canvas." Even as they embrace this shift, they remain deeply committed to the idea that art should be accessible to everyone. Tristan admires Keith Haring's mission to democratize art and share a similar philosophy: creativity should be free from elitism, available to all who wish to experience it. At the heart of his work lies a single truth: art is meant to be felt. "I don't care if someone sees my work and loves it or hates it. As long as they feel something, that's what matters."
In the end, Tristan's art is not about answers-it's about questions, about fragments of memory, about the interplay of chaos and intention. It's a conversation between the past and the present, between the artist and the observer, between what's seen and what's hidden. And above all, it's a declaration: to create, to feel, to exist without compromise.
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