Similar to some of my recent work, Bacon shows interest in distorting the figure from any sense of photo realism. It appears as though, at times, he is focused on the viewers ability to recognize the figure, but uses mark making to alter the viewers experience with the piece. His use of his subjects excruciating facial features, for example in "Head VI" 1949, shown above, which has incredible strength standing alone without any explanation. This effect is accentuated further by the additional atmospheric brush strokes. I am highly interested in Bacon's ability to represent emotion through such distorted figures. As I continue working this semester, I too, am experimenting with streaking the negative canvas space with erratic mark making and the use of drips.
I do greatly enjoy and admire some of Bacon's more heavily distorted faces, such as his "Three Studies of Henrietta Moraes," 1969, however, I am not interested in this process as an avenue for myself at this point. My work is gestural, but I do want to hold on to a more realistic portrayal of the figure. As with Bacon's work, I am not interested in distinct photo realism, but I do want my figures to be recognizable.
1 comment:
ohhhh yeah. you and francis bacon. definitely get that.
Post a Comment