Anna Jankowski

Dr. Colon
ARH 4800
February 8, 2016
Farley Aguilars School
Farley Aguilar created School in 2015 using oil paint on a large linen canvas
measuring at 65 by 95 inches. The viewer is faced with an eerie depiction of a class
photo taken before a schoolhouse, painted with colors and brushstrokes that evoke dread
and anxiety. Some students are more abstracted than others as scribbles and blobs of paint
construct their facial features. Each unique student stands out against the schoolhouse
background that features shades and tints of gray and brown. The contrasting colors of
the students and chaotic brushstrokes create a violent image that confronts viewers with
feelings of uneasiness.
Figures stand in a triangular composition that is parallel to the picture plane. The
triangle shape allows for the artist to position figures neatly in the rather chaotic image,
leading up the point where the tallest figure stands in the back of what appears to be a
class photo. Although the triangle allows for figures to be confined to a single central
position, the figures create asymmetrical balance. Figures are placed in random positions
upon a staircase, with tall and short statures mixed in the group. The only figure that
seems sensibly placed is the teacher whose abstracted, pointed head creates the tip of the
triangular composition.
The space is flat with only a slight suggestion of one point perspective being used
to create architectural features of the schoolhouse. The figures are equally as flat as the

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space, but overlapping of these figures suggests a recession into space. Figures are
arranged on four levels of steps with the tallest figures standing out in the backmost tier.
Such positioning allows the viewer to see the first level of figures and move up to the top
of the triangular composition the figures are arranged in.
Flat vertical and horizontal rectangles make up the structure of the schoolhouse in
the background while the student figures in the middle ground are composed from a
variety of circles, triangles, and rectangular forms. Each figures body consists of a
rectangular shape with mostly rounded heads; however, a couple of students and the
teacher have been painted with pointed heads. Eyes are generally made with messy
circles, with a few Xs replacing some students eyes. Scribbled triangles or round blobs
of paint create noses for some figures and are nonexistent on others.
Line work is very messy, almost taking on a child-like quality. Lines defined by
color also define the shape of each figure in the central composition. Some lines are more
defined than others with thick application of paint, while others are barely visible
scribbles under layers of transparent paint. Brush strokes are visible on almost every inch
of the canvas, exerting rushed and turbulent energy. One can also see how the artist used
the opposite end of the brush to scratch line work and words into the paint. Messy
handwriting can be seen such as Dunce on one students head and Do not exist
written on another figure that is simply splotches of black, brown, and red paint. Lines
also exist in this painting to suggest texture and shading on the figures clothes. The use
of such rushed and scribbled lines creates abstracted students that are only implied as
unrecognizable figures.

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Along with the aggressive line work, the bright, strong colors of the figures clash
with each other and standout against the neutral background. Some of the students take
on a similar monotone scheme to the background, but others stand out in bright hues of
blues, greens, reds, and purples. The palette choice in School adds to the anxiety that the
brushstrokes create with juxtaposition of colors such as teal and chartreuse with maroon
lines separating these figures. The artist chooses to use a range of colors for skin tones as
well. A few students appear to have a more natural skin tone while others are green or
bright pink. The color scheme is far from something one would expect to see in nature
and creates a disturbing mood that unsettles.
Despite the strong use of color, the painting avoids addressing issues of value
considering there is no attention to shading or chiaroscuro. This creates a sense of unity
even though each figure is unique. The lack of a light source or shadows creates flat
figures that stand together on the middle ground of the picture plane.
Texture appears to be extremely rough due to the techniques used. Aggressive
brushstrokes create the illusion of harsh, rugged clothing. Paint is transparent in some
areas, giving the appearance of fabrics such as worn denim or wool. Thick paint
application in other areas creates an imitation of hair and fabric details such as
embroidery. Parts of the schoolhouse appear shiny when viewed up close. The beige
panels take on a sparking quality that is lacking in other hues used elsewhere. One can
also see shiny gold paint used on the student standing closest to the teacher making him
stand out amongst the crowd.
The formal elements of School create an anxious environment that is less
concerned with capturing nature and more interested in evoking a feeling. Color and

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brushstroke help the artist achieve dread and nervousness. The emotion of the painting is
apparent as soon as the viewer sees the image. The line work appears maniacal and
crazed, giving off an anxious vibe that permeates throughout the painting. Even though
the painting lacks a sense of unity, Aguilar manages to capture the emotions of
restlessness and creates a successfully confrontational work of art.

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School, Farley Aguilar, 2015, oil on linen, 65 x 95 inches, Orland Museum of Art.