BVA303, BVA 303 RESEARCH, Kathryn.

BVA303, BVA 303 RESEARCH, Kathryn.

Mapping my question.

How can I convey a visual idea of a relationship between portrait and painter, to create a contemporary art movement using mixed mediums?

This weeks catch up with Kathryn was very interesting because last week i had just started the painting on the wall and has progressed over the past few weeks. 

This Is Sam the first model in the painting. The wise, calm and adviser to me. so I wanted a not so in the moment image but a more calming image of her.

Progression between week 1 and week 2

Progression  between week 2 and week 3.

I had decided to focus my attention to getting the painting done before having my time chewed up by my internship. This prevailed into the idea of only having 2 female characters that are closets to me "Sam and Ema" to help make the painting less complicated. As i have been focusing on my painting I have to keep telling myself i need to ask myself the questions of why I am doing this? Why is it there? What am I trying to say. Basically just ask the question of why? and question myself intuition-ally. 

Between week 1-2.

Between week 2 -3.

This lead me to the idea of why have I made them connect to each-other and why use rib bones??? Then I had the thought of connecting this to myself. Sub-consciously I bring my own facial features into different people's portraits with out the realization that I am doing it. Then discussing this with Kathryn we talked about the idea of the skin opening up and the "red Ribbons" mimicking blood vessels? While seeing the bones, having a insider of the body. But who's body is it??? 

Johannes Vermeer - Girl with a Pearl Earring (1660's)

The soft style of her face was influenced by the romantic softness of the renaissance era, to give her a wise and godly like feel to her features. As the way she relates to me is through being this adviser, someone I come to for advice or who I look up to for pushing my towards the right direction. I guess you could say she's the "yin to my personality where as "Ema" is the "Yang". The darker side to my personality, such as the crazy side, more confident and the mischievousness side to myself.

Between week 2-3.

Then I had the idea of it could possibly be my body, linking the faces with my personality and how they both make me feel on the inside. How I act around them? my ego? My personality? My feelings? If I change or not? This is what the underlying of the skin means. The skin and bones are a representation of myself, to help create that relationship between portrait and painter.

Last update of paintings.

So in the end of the video above is the yang "Ema" with her crazy hair and the linking of flow of the red ribbons or blood vessels as I now see it. Connecting her to the body and linking her to my personality.

This week I had also tasked myself to keep taking "in the moment" Documentation photography just with my phone to help the influence of my portraits.

These are all very "In the moment" images to help create movement for my portraits to give them feeling and to show how they are around me. To enhance the feeling of their engagement between portrait and painter.

http://maryemartintrilogies.com/art-the-painter-and-the-psychiatrist/

Edward hopper and the idea of using Gustav's Jung personality theory.

This was from my last blog but just wanted to mention it again for my theoretical context. A theorist of analytical psychiatry Carl Jung has created a personality theory of the ego (conscious mind), Personal unconsciousness ( personal memories and ideas) and collective consciousness (memories and ideas shared by society). Along with looking at what makes the "psyche" such as the persona - image of yourself that we present to the world. Shadow - Hidden anxieties and repressed thoughts - and the Anima/Animus - Male/female alter egos.