Raymie Iadevaia, Fluorescent/Florescent

Raymie is a neighbor of mine and lives in a cute little apartment by himself where he makes brilliant, gorgeous paintings that are so bright they make me dizzy. -obi

Obi: Which work in your studio is the most recent? The ikea paint overs? The polaroids? The tiny color pieces?
Raymie: Right now the most recent work is the Ikea pictures and the Fluorescent/Florescence series. I’ve been working on the polaroids on and off for about 2 years now.
Obi: When I first saw the polaroid-ish pictures on your website I thought they were small, but they are large…How did you come about to that scale?
Raymie: The scale for me is important in that a polaroid has a very specific scale, one that can be identifiable no matter how its represented. So for me playing with that scale, manipulating that scale has a two-fold effect: blowing the polaroid format up brings it closer to the world of painting, it contextualizes it in that history while at the same time it references the photographic model of the polaroid. In addition, the twisting of the scale exaggerates the distinct format of the polaroid and thus aims to simultaneously create a stronger identification to the polaroid as well as focus it more as a kind of object. However, with the smaller pieces mounted on corkboard, I really wanted to do the inverse, which is contextualize the polaroid in its own environment. I asked myself, “where do we mostly see polaroids, besides on desks, photo albums, and laid about on surfaces?—-on bulletin boards!” So the corkboard for me really restructured the polaroid in a kind of “natural habitat” or at least one that we’ve conditioned ourselves to thinking. I wanted to simulate the actual scale of the polaroid without directly using a polaroid in the process.

Obi: How did you come around to that crazy fluorescent palette?
Raymie: Haha. That “crazy fluorescent palette” came about while I was working on the Ikea series. Since the Ikea series is a more subtle investigation with ideas of beauty and the mass production of it, the process is more calculated and gradual through the use of oil paint. So after I did a few, I realized that the excessiveness that I was striving for wasn’t quite there yet, or at least I had not quite found that edge. So then I started thinking about materials, and which materials would really bring me to this edge both conceptually and aesthetically. And one day I found a pack of neon fluorescent paper for kids and then it hit me. Then I really became interested in the play between the words “fluorescent” and “florescent”. “Florescent: the act, state, or period of flowering; bloom.” and “Fluorescent: strikingly bright, vivid, or glowing.” Using these two concepts really got me to push idea of beauty in reference to nature and flowers with the aesthetic tension of the fluorescent materials.

Check out more of Raymie’s work at http://www.raymieiadevaia.com
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