mid semester: 2nd piece and 3rd work in progress

I believe my paintings are developing most prominently in the areas of color, brushstroke, and handling of the background. Many of my paintings take on a similar color palette regardless of the subject matter. I want the colors to lend themselves to the topic rather that just stand as a random choice. This, in turn, aided my handling of the background in that it allowed me to simplify the surrounding areas with the use of a more saturated singular color scale so that more of the focus was on the figure. I also tended to get caught up in using the same brush for almost the entire painting. I feel that I successfully used many different brushes which allowed me to vary my stokes more freely.

I still need to work on concept. Several people expressed during critique that they were uncertain of the message, seeing my piece as no more than a random portrait. I am beginning to realize that challenges of being a portrait artist... Is an inaccessible face or figure all there really is too it for the viewer? I internalize a great amount of feeling for the subjects that I depict, which in turn feeds my expression and spontaneity on the canvas. However, I do not feel that the reasons I paint these individuals is coming across. Perhaps, I am truly painting these portraits for myself, but my goal is still to bring to light an element of each individual that I paint.

I am challenging myself with a full-body-self-portrait for my final piece. I have never intentionally painted a self portrait before. There is a strong part of me that wants to portray my subjects highly accurately, but there is also a part of me that finds photo realism uninteresting. I have been attempting to stray from depending on photography as my source material and try painting from life. At this point, my frustration has reached an all time high, as I try to paint myself from life. So far I have whited out my face four times trying to create an accurate depiction of myself. I am trying to expand the realm of portraiture by not simply painting a classical strait forward image of myself, but I am continuing to struggle with the elements that will show aspect of my personality. So far I think the incorporation of the full body is a new and interesting direction. I will continue to work on the background and the face...

Yan Pei-Ming - Comparison

Yan Pei-Ming, "Mao" (Ch. Ver. #6), 2001, oil on canvas

Pei-Ming's work is known for its large scale and thick, heavy, brush strokes. I admire the loose application of paint and Pei-Ming's ability to accurately portray an individual without precise detailed rendering. Pei-Ming and I share the subject matter of portraiture on a large scale. I want to incorporate more texture into my work with the use of more paint and medium. However, I do want to vary my brush size and stroke slightly more than Pei-Ming. I do not want to paint in a monochrome pallet as Pei-Ming does, but I do want to lesson the "rainbow" effect that often occurs in my work.

Alice Neel - Comparison

Alice Neel, "Priscilla Johnson," 1966, oil on canvas

Neel and I share portraiture as a subject matter. And, within that suject matter comes a similar conceptual matter as well. Neel's portraits have been characterized as highly psychological as she seeks to show how the outside forces of society affect a person both mentally and physically, something I hope to achieve in my work. Neel's combination of Realism as well as Expressionism contribute to her ability to accurately portray her subjects as well as a secondary element of personality in those she portrays as well as herself. I find that Neel's work is "better" than mine due to her ability to freely attack the canvas with her self expression. She is not focused on photo-realism and works fully from life. I want to break free from trying to make my work look "pretty" and focus more on the process, which I feel will lend to the psychological aspects of my work.

Chantal Joffe - Comparison

Chantal Joffe, "Big Head," 2003, oil

Joffes work is similar to mine in process and concept. Although she uses oil paint and I use acrylic, she mentions when talking about her process that she enjoys the messiness of the paint and talks of her struggle to master the medium. I too approach painting as a struggle and experimentation with new techniques and ways of manipulating the paint. Both Joffe and I have a somewhat loose painterly quality to our work, leaving room for the paint to make some of the decisions for itself. Conceptually, Joffe's work is largely psychological and emotional, something that I have been trying to achieve throughout my work. For example, during her pregnancy, Joffe talks about trying to convey the anxiety and physical changes that come from being pregnant. I want to try and narrow my conceptual focus to more specific topics, rather than broad generally ideas.

Work in Progress: fall 09

The subject of my intended work this semester is portraiture. I plan to depict images of people that I have close ties with as I want to be able to incorporate and bring to light elements of an individual’s mentality and/or physicality. My intention is to pay homage to my subjects and also expose something mental, physical, and emotional that may not be consciously or deliberately on display. Portraiture for me has become a means of story telling. There are so many people in my life that I find absolutely fascinating and feel that each one deserves to have a part of their self illuminated.

The first piece I intend to paint is an image of my grandfather and my brother together. I only knew my grandfather for the first twelve years of my life, but I do have some fond memories with him. This first piece will deal with the psychological aspect of memory as well as attachment and loss. It is significant to me that my brother is in the piece because much of the way I viewed my grandfather was based on how I saw him interact with my brother. I plan to work from photographs as well as specific mixed media elements.

A second piece I have in mind is that of a very close friend of mine. We spend a great deal of time together so I am able to closely observe and attend to her mental and physical attributes. Although I am able to make my own opinions of this specific individual, it is how she views herself, namely her physical appearance, that I am interested in basing my piece off of. I want to use this piece as an exploration of technique, but also want to attempt to show emotion in the face of my subject as if she is studying herself, rather than a bland statement about cosmetics.

Formally, I will be working initially from photographs and intend to incorporate a large variety of materials to avoid direct photorealism as an outcome. I am interested in continuing to work with mixed media elements, which I feel adds greater emphasis and intrigue to my work.

My biggest challenge with materials is going to be tackling the largest scale piece I have ever worked on for the piece of my grandfather and brother. Also, I want to avoid overloading my pieces with too much alternative material and knowing when an element is adding or subtracting from the image.

Fall 09 Painting III - 30 Studies

The more experimental I got while making my studies, the more successful I felt the outcome was. There were certain techniques such as the repeated line making that I felt were particularly beneficial to my process and was able to use them in numerous ways to create emphasis. The line making is definitely something I want to incorporate into my projects this semester. I also discovered the power of repetition in a few of the studies. As I continue to be interested in psychological phenomena I often come across repeated themes and thought processes, which I feel directly relates to the recurrence of certain imagery. I found it challenging to decide when a study was completed. I often over crowd my work, which is not always a fault, but I wanted to keep my studies simple so that I could practice specific techniques with a wide variety of materials and mediums.

I feel I was most experimental with the studies on texture. I have a acquired some new acrylic mediums that are intended to add body to the paint, which allowed me to experience a somewhat sculptural process. I also attempted the use of oil paint for the first time in my life in a couple of the studies. I enjoy the vibrancy and concentrated color palette as well as the ability to rework certain areas days later. However, I am used to working at a fast pace, and have found that elements of mixed media are important to my work at this point in time so I do want to continue working with acrylic paint for now. There will definitely be a time in the future when oil paints will prove to be more beneficial.

Experimentation with materials has become a way for me to expand my conceptual intentions. My interest in mental states as well as physical attributes keeps me searching for ways to add emphasis to the portraiture work that I do. I relate the way that the paint reacts to certain surfaces and mixed media elements to the way the brain reacts to outside forces, whether it be a personal experience with a substance, death, relationship, body image, etc. or an ever present and often uncontrollable outside force such as the media, expectations from society, competition, etc. These ideas closely relate to many of the "interest" words I listed earlier in the project. Words such as environment, disorders, balance, relationships, self-control, indulgence, harmony, trends, among others, I feel, make direct connections to the conceptual goals of my work. I want the effects of a person's experiences to be backed by the effects that I create with heavily layered paint application as well as elements of mixed media.

Assignment 3: PaintersNYC

Elizabeth Peyton

Some critics consider Peyton's loose brush stroke to be an excuse to avoid "mistakes" in her process. By not fully rendering accurate and photorealistic portraits of her subjects some feel she is being lazy or avoiding a time consuming process.  Another critic defends Peyton's work by saying that her paintings do not seem unskilled at all, but that sometimes less is more in a painting. I have struggled with this idea myself. I stray from highly rendering my paintings because I enjoy the freedom of spontaneous brushstrokes. Another critic mentions that sometimes exploration is what makes a successful painting. The individual goes on to explain that it is when the artist is unsatisfied with their work or surroundings that forces them to develop into a more rounded artist. This is the direction that I am going in currently and hope to continue reaching new levels. 

Assignment 2, Part 2: Painter that Resembles My Own Work....

Eric Fischl

I feel that Fischl and I share a similar imagery when it comes to portraiture. However, he uses a somewhat tighter brushstroke than I do. He tends to use dramatic lighting, which is something that I have not yet utilized as a significant part of my work, but is definitely something that I want to begin incorporating into my work. I do not want to lose my spontaneous brush stroke pattern, but I feel that using more distinctive placement and lighting will aid in my desire to evoke emotion and emphasize a certain elements of the figure. Fischl also uses more accurate flesh tones than I do, but leaves his colors chunky and brushstrokes visible. His use of layer is apparent, something that is very important to me, but within Fischl's layers, the colors are not lost. This is something that I want to emulate as well. I find that I so heavily layer my paint at times that tones get too blended and begin to look muddy. Conceptually, Fischl captures moments in time, leaving the figures slightly vulnerable. I too am interested in capturing a moment in time as well as a specific quality of my subjects.  

Assignment 2, Part 2: Painter that Resembles My Own Work....

Elizabeth Peyton

I share Peyton's interest in portraiture. Although she generally works on a small scale, Peyton is able to capture closely rendered depictions of her subjects. She makes a clear effort to make her subjects recognizable to the viewer, but does not resort to photo realism. She leaves her brush strokes visible and allows the paint to take some control with drip marks and layering as seen in her image of Kurt Cobain, 1995. I enjoy working on a larger scale, but I too am interested in depicting the figure in a such a way that they might be recognizable to the viewer in a loose and spontaneous fashion. Although Peyton does not work with mixed media she positions and crops her subjects in such a way that they emphasizes their character. Conceptually, I do not feel I have the same intentions as Peyton. Her images feel straight forward and no more than a depiction of an individual, often a celebrity who has an already established status in society. I am more interested focusing on specific aspects the individual's personality and then bringing that about through symbolism or elements of mixed media. Peyton and I share similar elements of image and process but I am not content with simply a face on the canvas. I want the viewer to understand something, negative or positive, about my subjects and then form their own opinion of that quality.

Assignment 2, Part 1: Summary of Artists

Nicole Eisenman

Many of Eisenman's images have a cartoon like quality as they depict some recognizable icons, although not existing in reality. She is focused on depicting a specific method generally in a humorous or brash manner. Her process involves a variety of techniques and mediums. Some images are very concise while others are very loosely depicted. She creates without boundaries and is able to create meaning out of seemingly inanimate materials. Eisenman works from a humorous angle, whether light or dark. Her work exhibits a childlike quality, evoking emotion in a rather sarcastic manner. She seems interested in making the viewer think about her message whether it be a feminist ideal or a childlike fantasy. 

Andrew Wyeth

Wyeth depicts very recognizable images whether it be through the use of the figure or simply a landscape. His color palate feels very solemn and nostalgic. His process involves a somewhat loose yet delicate brushstroke creating an overall sense of calm. Each image feels reminiscent of a specific time and place. Although the images are straightforward, they succeed in evoking strong emotional connections between the viewer and the image, which inevitably connects the the viewer to the artist. It would seem logical that these moments in time hold some sense of importance to Wyeth and he has allowed us to experience it with him.

Chris Ofili

Ofili's images emphasize his interest in African influence, use of color, and mixed media to focus on the black experience. He boldly uses dried elephant dung in the majority of his work as he creates a variety of patterns. His process and imagery are somewhat reminiscent of African tribal art with incorporation of a variety of craft materials. His process has a very eccentric and sometimes harsh quality. Conceptually Ofili is perhaps making reference to native African use of the land and its resources rather than manmade materials. Although some have taken offense to some of his images, I do not believe that that is Ofili's intention. 

Fred Tomaselli

Tomaselli's imagery consists of mixed media formatting. He uses a variety of materials to create psychedelic compositions of landscapes, animals, people, as well as unrecognizable kaleidoscope-like pieces. He is well known for using drugs/pills, leaves, and photos as collage mediums which then often exist on  a stark black background. His process involves placing these materials in such a strategic way so that they appear organized on the chosen surface. Some pieces serve as well rendered landscapes, where the viewer can not always figure out what medium Tomaselli used. Whether or not the viewer can determine the exact materials used is not bothersome. Conceptually, Tomaselli creates a place for the viewer to step into and explore what feels like a limitless realm. The time and effort that Tomaselli puts into his pieces is visible to the viewer due to the delicacy and placement of his materials. 

Chuck Close

Close is most defined by his portraiture both in painting and printmaking. His images are generally HIGHLY rendered portraits, photo-realist pieces, involving a grid oriented planning method, which separates the image from close range but creates harmony from a distance. His images are on a rather large scale, dominating the space in which they are shown. Close's process is both time consuming and labor intensive. In order to achieve such well rendered and effective portrayals of his subjects he must pay extremely close attention to detail and mark making (or lack there of). Conceptually, Close seems most interest in the detailed process of creating recognizable and accurate portraits. His ability to render such pieces is what make them so powerful.

Frans Hals

Hals is perhaps one of the most influential portraiture artists in the fine art world. His images depict a distinct light source and natural flesh tones. Hals being one of the leading artists of the Western art world, was able to capture accurate depictions of his subjects as he redefined the qualifications of a traditional style of portraiture. Hals' process has a somewhat playful quality, as he puts forth a quirkiness in each of his subjects. Hals' was breaking the boundaries of the master artists who came before him as he depicts married couples, women, and men in a humble light often leaving his flowing brushstrokes gently visible to the viewer. He reveals emotion in his subjects rather than a sense of power. 

Kippenberger

Kippenberger worked with a variety of materials creating a variety of forms, images, and structures. He produced painting, drawings, photographs, prints, posters... It is difficult to classify a specific style or outcome of his work, each having its own spontaneous result. His process is focused on creating something out of anything. Kippenberger appears to have been a busybody, as he produced such a massive quantity and variety of work. Each piece feels like a production or chaotic self-expression that somehow comes together through a great deal of multi and mixed media. Conceptually, Kippenberger strives to bring meaning out of objects and imagery that already exists. 

Elizabeth Peyton

Peyton, known for her portraiture, generally works on a small scale, yet still captures closely rendered depictions of her subjects. She paints many celebrities as well as close friends. Although here portraits are specific, she leaves her process visible. Her often loose brushstroke and layering as well as the use of the drip are identifiable. Peyton crops her images in such a way, sometimes heavily outlining her figures, focusing all attention the individual. Although a background is sometimes incorporated it is generally not informative or significant. Conceptually, Peyton seems to be focusing on simply painting individuals who are either a significant part of her life or who someone she perhaps idolizes. The viewer does not feel the need to look to deep into the paintings, although sometimes gestural, they are straight forward and have a flat non-emotive quality. 

Eric Fischl

Fischl is extremely focused on the figure as it naturally exists. Who the person is in his paintings is not the focus, but rather how the body moves amid certain circumstances. The figures are often portrayed in sexualized moments where one would not imagine anyone to be observing the situation, which gives many of the pieces an erotic, moody quality. Ficshl process is rather gestural and generally allows the viewer to create some sort of narrative. The paintings do not appear to be extremely concerned with a deep conceptual meaning, but rather human interest in natural interactions between beings.

Courbet

Courbet is among the realist category as he works with portraiture and landscapes, emotively, traditionally, and erotically. His pieces depict movement, foreshortening, and lighting in a very accurate manner. He paintings feel soft, even when portraying a solemn or unfortunate event. his process does not seem as important as his desire to portray aspects of life as they truly exist, straying from previous romanticized portrayals of reality. The viewer is able to assess the hardships of a specific period in history and can relate to the raw human emotion. 

PAINTING III - Gail Dawson -- 1st blog: study and 1st piece response

The responses to my work that proved most meaningful were those that recognized the subject matter as an exploration of new ideas. My studies went through many transitional stages, as my work at this point in my painting career is as well. A few individuals recognized my attempt to convey some sense of a habitual behavior.

At this point I am not certain if my intent of displaying various individual’s vices comes across or whether it is the commercial aspect of the Splenda sugar packet that people find intriguing. I am also asking the question of whether or not the viewer is able to draw any connection between the people I intend to paint and the corresponding element of addiction, or is the viewer simply seeing: person and element, no connection.

I tend to respond better to constructive criticism. I have been painting portraits, although untraditionally, for a few months, and want to continue to find new ways of bringing the subject matter to life so that the viewer does not feel as though they are simply looking at a painterly face. I specifically did not try to paint any faces in my studies because it is something I have already done, but instead used collage to stand in for the form and layer on top. I know I am capable of portraiture, so for someone to simply give be positive feedback about a painting “looking nice” or whether or not they “like it” will not help me. I am more interested in what is bothersome or what is unsuccessful about my pieces, perhaps not so that I can go and change everything that I am doing, but so that I may be able to experiment with new techniques and ideas.

I am taking from my studies the heavily layered elements. I do not think that I want the element of text to be as prominent because I still want the focus to be on the paint. I am also not sure the exact subject matter of dependency/addiction will hold true to all my pieces. It is inevitable that I will run into problems as I am adding new components to my work, but I am definitely not ready to give up on the idea.