Orlando Saverino-Loeb is a Philadelphia born artist who works primarily in paint. His work is a constantly evolving process of exploration that spawned from the desire to find a visual primary source. This exploration led to working in blind contour to find marks without the edits one makes with their eyes while drawing. Taking these marks and reconfiguring them into compositions that create space led to the current explorations in paint. His paintings should be viewed over an extended period of time during which one can see new things in the painting that are specifically one’s own. As a person sees the painting again they will be able to see a new painting, one that is different from before because of experiences and thoughts that they had since the last time seeing the piece. Thus, the viewer experiences pareidolia, a sensation where the brain finds images in a pattern when they are not there. Pareidolia was the title of his senior thesis exhibition at Tyler School of Art in 2016.
His process is dependent on the speed and freedom involved in the making of the pieces. The colors and sense of light that he uses in the paintings are highly influenced by his extended stays throughout Italy. Using primarily acrylic paint and an airbrush he builds out an environment for the mind that one might be able to enjoy and explore for many hours on end.
He has shown his work multiple at the Infusion lounge in Philadelphia, along with select appearances with the Philadelphia Art collective, and the Stella Elkins Tyler Gallery, at an Inliquid sponsored individual show at Vintage Wine Bar in Philadelphia, and the Inliquid Gallery. He has also created murals around Temple University’s Campus.
I make paintings that stem from an exploration of what a visual primary source would be. With a primary source, the eye is always editing the experience. I started out by creating a series of blind contour drawings, often using ‘impossible tools’ like nails, hammers, and cloth, etc. Using the drawing rules of proportion and perspective, I started to see images and patterns in the paintings–the result of a first-person interaction with the hand. I made those (contour) drawings for a while, and then I started using an airbrush to increase the speed and fluidity of the work on large-scale canvases. Over time, I found a new infatuation with interacting with the viewer. I stopped talking about the paintings and listened, instead, to what people were saying about the work. People would change their interpretation of what they were seeing the more they looked at the work. I started moving away from blind contour drawing, by using them more as a skeleton, on which I would paint the skin of the painting. I began to believe that the painting itself was less important than what people saw. I began to think, “How can I make a painting that eliminates what I want to force on the viewer?” I wanted to give more power to the viewer, because I’ve always thought that the viewer is more important than the painter.