Sam Battaglia is an artist who lives in Dallas, Texas USA with his wife Kelly, and two “Clowns in Dog Suits”.
Our Dogs are Wheaten Terriers, a herding farm dog breed originally from Ireland. They bring much joy to our lives and are some of the funniest critters that I’ve had the privilege to know and love.
As with many artists, I’ve enjoyed making things all of my life. While always drawing and painting, other creative pursuits were also engaged. In childhood it was bird houses, plastic model building, and solid propellant engine rockets. Pure magic. The majority of the plastic and balsa models were airplanes and “flew” in my room suspended by clear monofilament fishing line.
Later, largely because of my uncle’s connections with the jazz musicians in New York in the fifties and sixties and the sublime beauty that poured forth from his own silver bell trumpet, I took up the study of music and the trumpet. In my life, music is closely interwoven with the creation of my art.
Photography had shown it’s mystery of preserving a moment, and that siren was undeniable. My wonderful parents supported and tolerated the ruin of a bathtub from the chemicals of film developing and printing, and smiled, mostly, through my creative journey. As an adult I converted a small bedroom in my home into one of the finest darkrooms in town. Many hours were spent seeing the magic of a captured moment reveal itself in the tray as I rocked it gently into being. (It is a type of magic that I sorely miss as silver emulsion photography has almost completely been replaced by the new magic of ones and zeros.)
I do still enjoy making photographs but now they are largely employed as sketches and supporting elements toward the making of paintings. I once held a secret thought that to work from one’s own photographs might somehow be wrong. But I was enlightened in college when I found a wonderful and magical book documenting how many of my favorite artists of the last two centuries had used photography in the creation of their own drawings and paintings. This, notwithstanding the camera obscura used by some artists throughout the years of the Rinascimento and thereafter.
When I found myself needing a new and larger studio in which to work, My dad and I decided to build it. You can read about and see a photo of the Artist’s Studio here.
I use all of the different media available just for the tactile pleasures that they offer. Pastels have a velvety quality that is beautiful to see. It makes you want to touch the drawing surface but if you did the work would be ruined. Watercolors can be used spontaneously and freely or studiously and with caution. I sometimes have to remind myself to “go with the flow” when a wash decides to exercise it’s initiative. Oil and acrylic paints are used when I desire their buttery consistency, and always there is the embedded genetic memory of the magic that a burnt piece of willow can incite.
I enjoy working with the beauty of the human figure and all that can be related by it’s symbology. Human forms communicate whether realistic or abstract in their realization. Nature and natural forms are becoming more prevalent in my imagery, but I find though that anything imagined or seen is potentially a stimulus for creating artwork. Conceptual art is contained, I believe, in the moment of perception by the artist, and then in the mind of the observer or participant. Even if the “concept” finds expression hidden within more recognizable and familiar symbols.
There is a creative connection that occurs when an artist is fully aware of that on which he or she is focusing their attention. Whether it is an inanimate object, a pulsating landscape, or another breathing human being. This connectedness of mind or even spirit is a force that compels me to try my best to be fully aware, to see what it is that needs to be seen, and through a work of art to say what wants to be said.
You may contact me by using this Contact Us page.