This was truly a labor of love it took a while as I had to have it finished among other projects. It’s a bust from the Ashmolean. Like the description below I painted this on stretched paper which I primed with a home-made gesso. After drawing the image I then blocked in the important shadow information and filled in the rest of the detail.
Acrylic on A 2 paper .
Like I said in an earlier post I became a bit lazy mid-way in the pathway and felt very unmotivated. My solution is always to start doing something random; so I got my images from Amsterdam and began painting in a style I’m not used to the outcome was this…
I worked once again with acrylic paint but watered it down to get this loose effect. I remembered that most of the paintings in the Rijks Museum, of fabric, where often made up of marks of paint which if view together created the final article. From this painting, I took a glimpse of my photos and noticed a postcard I’ve always had but never paid attention to. It showcases the painting by Philippe de Champaigne entitled ‘Cardinal Richelieu’
For the first time I noticed the dramatic nature in which the fabric is painted and got more and more interested the more my eyes worked round the postcard. I was so inspired that i began to make numerous studies of all shapes and sizes, I even went as far as knitting rope and painting and painting on the knitted fabric to see what effect I would get from it. Below is a slide show of my moment of crazed obsession.
It’s been a while since I uploaded my last thoughts; well to update you all on my progress I CHOSE FINE ART!! Like you didn’t see that coming 😛 Anyway, I have enjoyed myself in the fine art pathway, progress was a bit slow to begin with; then I started working which slowed me down even more -_- but now it’s the holidays and I’m starting to get used to my new schedule, GROWING UP SUCKS!!
Our project to kick-start the pathway was Deconstruction Reconstruction and looking at my work previously I noted that I was very keen on portraiture. however I didn’t want to, straight away, paint figures. I wanted to explore different ways of portraying a portrait; I decided to look at myself to begin with, not because of vanity but as a starter to make me think of ways of representing ME. I thought I was going to take an abstract way of looking at things but a discussion with a lecturer made me realise that my art was more of a representation of something rather than an abstract view. With this correction my work took on a whole new twist; looking at Alison Watt’s ‘Phantom’ oil paint series I began to look at fabric again. Alison Watt’s work is described to be many things, but I like to interpret it as portraiture, there’s no doubt that her fabric paintings have a human presence, due to the nature of the distorted fabric shapes within the painting. I then began to look at Christian Boltanski’s work who, in a way, works similarly to Alison Watt. He makes installations, often of objects that have had a past or photographs; displayed in such a way to provoke an emotional (often empathetic) response to the veiwer.
I want my work to reflect both these responses with the use of other references I may get from artists later on; however for now I simply looked at the element of fabric, the following pictures below are the experiments I started with to kick-start this project.