research kathryn BVA 303
research Kathryn BVA 303
6 arguments for the BODY of my work.
A quote from miggrette above. The idea I take from this is that he is trying to show that identity could be a mystery based on my works i can take that into account as the identity of the sister-hood is based up of three character's creating this new and improved form of identity.
Historical
theorist and painters.
6 arguments for the BODY of my work.
1. A painted representation that physically merges myself as painter with two close friends expresses the notion of sisterhood.
2. The depiction of myself as the painter merged with those portrayed more accurately reflects the idea of a portrait. relevance of a friendship/relationship can be portrayed through visual imagery.
3. A new identity is created through the merging of three subjects which depicts the relationship between the artist and model/s.
4. The sculptural installation of portraits demonstrates the physical connection between each painting and each body/identity.through the eyes of the audience.
5. The desire to construct family or intimate emotional connection informs the painting of bodies physically and emotionally entwined to become one identity.My own life background effected my works emotionally to connect us together like a sister-hood or a family.
6. Surrealism within my work creates a new identity.Discuss surrealism and how this is important in creating this merging of identity in portraiture.
7. Practice-based research informs by project by....
1. The desire to construct family or intimate emotional connection informs the painting of bodies physically and emotionally entwined to become one identity.
2.Surrealism within my work creates a new identity. Discuss surrealism and how this is important in creating this merging of identity in portraiture.
Frida Kahlo’s 1939 oil painting “The Two Fridas.”
https://www.nytimes.com/interactive/projects/cp/obituaries/archives/frida-kahlo
Quote from Andre Breton's first surrealism Manifesto (1924-published by Yvan Goll)
.
My work "The Triage" now has evolved into a vulnerable body manifestation of the bodily pieces molding and merging together to create a new identity.
Example is my own work of the Triage....
4. The sculptural installation of portraits demonstrates the physical connection between each painting and each body/identity.
Louise bourgeois
5. A painted representation that physically merges myself as painter with two close friends expresses the notion of sisterhood.
6.The depiction of myself as the painter merged with those portrayed more accurately reflects the idea of a portrait.
IE: I am not painting a portrait of Sharla (Myself). I am painting a portrait of multiple people...
6 arguments for the BODY of my work.
Identity? a surrealist answer
■Frida khalo- expressionist painter
■Gustuv jung theorist in phsycology-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.
■Andre Breton manifesto talks about the
sub-conscious mind and how loosely having no control gains more control.
Imagination wise.
■Rita angus – portraiture painter.
■Norman Rockwel- painter
6 arguments for the BODY of my work.
1. A painted representation that physically merges myself as painter with two close friends expresses the notion of sisterhood.
2. The depiction of myself as the painter merged with those portrayed more accurately reflects the idea of a portrait.
3. A new identity is created through the merging of three subjects which depicts the relationship between the artist and model/s.
4. The sculptural installation of portraits demonstrates the physical connection between each painting and each body/identity.
5. The desire to construct family or intimate emotional connection informs the painting of bodies physically and emotionally entwined to become one identity.
6. Surrealism within my work creates a new identity.Discuss surrealism and how this is important in creating this merging of identity in portraiture.
7. Practice-based research informs by project by....
Carl Gustav Jung, A well-known Swiss psychiatrist once said, “The meeting of two personalities is like the
contact of two chemical substances: if there is any reaction, both are
transformed.”(Jung C. G., 1933)
[1][i]
As one of my art theorist I embrace this quote inevitably. As it helps me
understand a little just what I am trying to create with my portraits. The idea
of a new identity or personality between the sister-hood of three woman (myself
included). To create that "chemical reaction" and to
"transform” it into a new identity. (C.G.JUNG edited by SONU
SHAMDASANI, 2009) (Jung C. G., 1964) (Jung C. G., 1933)
My work now has evolved into a vulnerable body
manifestation of the bodily pieces moulding and merging together to create a
new identity.
At the start of life when pregnancy happens there is an instant
bond between mother and child. Where the baby leeches onto the body and
attaches itself like a parasite would. Doing everything and anything with the
mother. As pregnancy hits and the water breaks the baby breaks free from the entanglement
of the umbilical cord, having the protection of the dark and reaches out to the
light. As the mother and child first see one another they create this emotional
attachment and bond between each other. As a child I was never able to experience
the bond between mother and daughter. So, I created my own bond with other
females to create my own family basis. (Segelstein, 2018)
This idea has been expressed with my own portraits as I am wanting
to show that physical bond and attachment between the two female models. By blood,
bones, and the merging of the skin to show the idea that we are as one.
Transferring that bond between mother and child. To the female friends becoming
a bond between a mother and child that I would have, if circumstances were
right.
My expression of these portraits is this new bond to re-birth a
new identity that melds the three of us together.
2.Surrealism within my work creates a new identity. Discuss surrealism and how this is important in creating this merging of identity in portraiture.
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| The Love Embrace of the Universe, 1949. Oil on Masonite, 27 ½ x 23 ¾ in. (70 x 60.5 cm). |
This painting is about love, life and the inevitable death that
comes with life. This was expressed by her feelings to her husband Diego
Rivera. The representation depicts Diego with adult features in the face but
attached to the body of a baby’s, along with the third eye on his forehead-
giving the symbol of wisdom and being wise. While Frida has depicted herself to
cradle him like a mother figure relating back to her own child loss and trauma
of it. Giving a merge of identities between Frida and Diego combining their
relationship as one. With the aesthetic relating back to Mexican mythology which
relates to her own roots and upbringing (www.FridaKahlo.org,
www.FridaKahlo.org, n.d.)
This also relates to a “mother nature” figure with the organic
depiction of the earthy mother holding them together as one. The hidden messages
behind it feels as though it is all related to mother hood and the abandonment
of the baby that never came to be. There is an emotional feel of loss, love and
the growth of life becoming death.
She has used this surrealistic style to construct this idea of
abandonment and loss from mother-hood. Reflecting this to my own works, the
organic emotions I have portrayed in my art. Gives this raw connection of
vulnerability and abandonment issues of my own. With the loss of my own
relationship with my real mother. I have created my own bond with two other
female figures as though I have been re-birthed into a new system of mother and
daughter, or a sister-hood of my own made up family. With the trauma still
holding on, I paint with my own feelings of hurt and despair. To create a new
beginning of having to find my own light through these other female figures.
This has been constructed through the surrealistic style of portraiture.
“psychic automatism in its pure state, by which one
proposes to express the actual functioning of thought. Dictated by thought, in
the absence of any control exercised by reason, exempt from any aesthetic or
moral concern.” Andre Breton
quoted from his first manifesto of surrealism (Breton, 1924) . Explains that the
idea of Automatism- which is the suppression of conscious control, letting the
un-conscious mind take over tin the art practice. (TATE,
n.d.)
– in the purest state can express the “Functioning Thought” (Breton,
1924) with
the absence and loss of control. This is exorcized in my own practice as I am
trying to explore my own un-conscious mind to construct and emotional bond
between myself and the models in the painting. To express my own surreal
automatist thoughts and thinking to show how I depict we are as one identity.
Quote from Andre Breton's first surrealism Manifesto (1924-published by Yvan Goll)
.
3. A new
identity is created through the merging of three subjects which depicts the
relationship between the artist and model/s.
Focusing on
nude portraits of the human body and the study of the human flesh Emma Hopkins
(1989, Brighton). Creates significant portraits with themes of anatomy and the
idea to discover the hidden relationships of the body, inner self, emotions and
mind. (Hopkins, n.d.)
She quotes ‘I want to
understand as much as I can about what it means to be human,’ - ‘We are not
just the clothed person we present to the world. We are the mind and body that
we inhabit. There are aspects that connect us all and we are also unique
individuals. I moved into painting portraits because it is a celebration of
this.’ (Hopkins, n.d.)
– This relates to my own artwork as My work now has evolved into a
vulnerable body and manifestation of the bodily pieces molding and merging together
to create a new construct of humanity and identity.
With the series
I have created called “The Triage.” I have focused on the folding and molding
and creases of the skin. The skin then peeling off to expose the bones and the
blood vessels behind it.
The skin is one of the main focuses as it covers us as one and
protects us as one identity. Hopkins idea of “We are the mind and body that we inhabit. There are aspects that
connect us all and we are also unique individuals.” (Hopkins,
n.d.)
Connecting this to my own works helps me describe the understanding of my
project. Yes, the three of us are individual people but to mould us into one. I
have created this “Bond” that this new identity has inhabited with the combination
of our minds and bodies.
The contemporary portraiture artist Scott Hutchison created this
piece called “Metamorphosis” (HUTCHISON, 2016) . Diverging in
portraiture and mixing it with a surrealist concept bringing it forward into contemporary
art.
With this portrait he has overlapped and melded different body
parts together, along with different movements of the face. Creating this metamorphism
of morphed body parts together. (MARRA, 2017)
In relation to my own portraits I have referenced the idea of
Hutchison’s work by creating my own metamorphism. The contrasting colours in
Hutchison’s work gives the illusion that it is moving and evolving. Along with
the black/navy blue backgrounds it feels as though his work has vulnerability
and emotion with it. Relating to my own portraits of how vulnerable standing
alone in the void of this eternal space.
The background I feel is the most important part of my portrait’s
as it exposes their vulnerabilities and feels as though they are functioning
organs floating in the void, with nothing to protect the state of mind, soul
and body.
My work "The Triage" now has evolved into a vulnerable body manifestation of the bodily pieces molding and merging together to create a new identity.
Example is my own work of the Triage....
4. The sculptural installation of portraits demonstrates the physical connection between each painting and each body/identity.
Louise bourgeois
 |
The installation of the cast aluminium “Couples” – Louise
Bourgeois (2003) – is the depiction of the melding of eternity, always holding
each other to the end (Art, 2003-2017) . The life of
Bourgeois was harsh, and her early childhood was full of abandonment and
disclosure. This is one of Bourgeois “couple sculpture’s” which is the
expression of her potential love loss and anxiety. A lot of her works have the
expression of movement with her rotating figures and express the idea of body,
form and identity.
“I
need to make things. The physical interaction with the medium has a curative effect.
I need the physical acting out. I need to have these objects exist in relation
to my body.” -Louise Bourgeois. (TATE, n.d.) (Foundation, n.d.) – This is a key quote
to use in my own research as it is a very physical molding of two people. With
my own work I am reaction to my own body as Bourgeois is doing for her works.
Though I am not fully focusing on the sculptural aspect but more of the
installation aspect that can make my own works sculptural in its own way. With
the merging of the bodies and the feeling of movement and rotation of “The
Triage”. I can really relate to the idea of a “Physical” effect to create my
own paintings physical in its own right.
This oil painting by Frida Kahlo “The two Frida’s” (1939) (www.FridaKahlo.org, 2011) was created after
her divorce with Diego Rivera. Perceiving two different personalities one of a
traditional subjective of her in a “Tehuana” outfit and the other Frida is
dressed up in a modern outfit. It was expressed in her diary that this
depiction was originally from her memory as a “childhood friend” but later she
then admitted it to be her expression of loneliness and vulnerability from the
divorce of her love Diego. (www.FridaKahlo.org, 2011)
 |
They both have shown visible hearts but the heart on the left Frida
is torn open with blood flowing onto her white dress. Where-as the Frida on the
right is full hearted and unbroken. While the background of the dull stormy sky
reflects on her inner self of her trauma’s and chaos. This is very expressionist and borderline
surrealism of how the painting is depicted but for my work especially it gives
this portrait me personally the feeling of feeling the raw emotions and trauma.
This reflects my own practice as I am creating my own visual identity with the
ones closes to me. Creating an emotional attachment and giving the portrait
vulnerability and emotion from my own personal up-bringing’s.
The connection of the hands holds the two very different Frida’s together
and creates a trauma-based link with each other relating to her inner self. The
body bones and organs create a link with each other within my own works.
Instead of hands I have related it to the blood vessels intertwining, creating
this organic bond between myself and the other models. Also, the process of the
work I have used my own hands to mould and move the paint to creating a link to
myself. In a way putting myself into the connection with the painting, a bond
of such to the portraiture.
6.The depiction of myself as the painter merged with those portrayed more accurately reflects the idea of a portrait.
IE: I am not painting a portrait of Sharla (Myself). I am painting a portrait of multiple people...
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Las Meninas has been painted that all figures have the same amount of
respectfulness to all the faces. The involvement of the painting is set in the same
position as when you look into the painting. Giving a relationship between the
figures of the painting and the audience looking into it.
Like a constraint or a glimpse of time.
This is more about female friendships, the whole construct of love, friendship and relationship with the people you choose as family.
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