Painting paradoxes
I get the question every so often about why I paint people. I feel that the figure is such an important element of our reality that it has to be approached with a certain theological and philosophical seriousness. The question is, what does it mean to portray the figure? Different traditions portray the body for different reasons and to different ends. Some traditions depict the body as a way of mastering the body. To portray the body with technical excellence is to dominate the body. Others intend to portray the unseen or spiritual aspects of the body. This is an assertion that the body is more than what we see. Here is my approach.
The body, along with several other topics is one of the paradoxes of Christianity. These paradoxes are not contradictory, but rich, deep, and available to probe. The body represents, on the one hand, a designed physical presence that is fearfully and wonderfully made in the image of God. To portray the body is a physical statement and a historical assertion that this body is *here*, and subsequently *you* are here to view it. Therefore, the statement of the physical is an empowering and beautiful reaction to the figure’s presence.
On the other hand, the body was created to die. We know that our physical bodies are impermanent and that when we look in a mirror we see ourselves dimly. Our soul is contained by the body to be revealed only after the body has expired.
To portray the figure then is to portray the tension between the physical presence and the cosmological impermanence of the body. This tension is beautiful to me and it’s something that I hope you’ll note as I show my new work!
Hung Liu: My art crush
If you have not yet visited Hung Liu’s link I have posted www.hungliu.com, take a moment to see some of her work in YouTube format.
Some of the images seem to be faded with the quality of image but I think her work is absolutely beautiful. It hits all my points – figurative and political with undertones of impermanence.
Hung Liu is a Chinese American artist currently teaching at Mills College in Oakland California. She was initial trained as a Chinese Socialist Realist and her current work represents some balking against those traditional methods.
Identity Study from this Summer
Identity Study 18x24 Oil on Canvas
I saw that I hadn’t posted this one yet from the Summer.
Here is the technical information: I painted this one in a classical style of setting down a ground, grisaille and then two layers of color. I find that this method allows for a lot of dimension in the form. The first layer of color was in my regular red, yellow and purple palette and then I put a cooler palette on top to finish.
Conceptual information: The photo reference I used was from West Africa in the 1940′s. I was intrigued by her scarification which is an identifying feature in some West African cultures. I met people when I was studying in Ghana that had identifying scars. The people I talked to had scars that indicated what profession their family did. It’s interesting to me that it is an artificial indicator on top of natural features. One idea to take this a step further would be to create my own system of scarification that I would put on figures in paintings to indicate my own agenda.
The second thing about this painting is that even though the photo was taken in the 1940′s it looks like a modern day digital ‘self-portrait’. As if this woman was posting her facebook photo. The concept of the self portrait speaks to cultures of narcissism and statements of, “I am here, and you are here to see me.”
I thought it was about time to post some more of my work. I’m currently working on some figure study paintings I will post shortly!
Ex Nihilo
Ex Nihilo 48"x60"
This is one of my latest paintings. This was last seen at the Brookhaven College student art show.
Ex Nihilo in Latin means “out of nothing”. I am intrigued with creation narrative of different cultures. Creation narratives are one of the ways people define their role in the cosmos. They are important and defining parts of culture. This painting is not as much a creation narrative as a snapshot of the creative process.
The brushwork throughout the painting is linear; strokes going up and down in a ‘constructed’ way. I want to make it feel like the figure is being ‘put together’. Like the brushwork throughout the piece comes to fruition in the form of the figure.
Antithetical to the notion of linear construction is the circle in the background. This represents the creative force acting externally on the creative process. The figure is propelled from the circle in an almost violent creative moment. The midground drips from ‘excess’ creative product.
The creative process is not placid and calm. The creative process can be turbulent and reverberating causing repercussions as a result of the creative moment.
My Studio
I know there are some who have been waiting for pictures of the new studio! I finally have some pictures for you.
This is the door cracked open to my studio
This is just inside the door. The canvases on the sides of the room are 7'x7'
looking back towards the entry to the right
looking back at entry to the left
This is the left view of the back room. This is storage side
This is the side of the room I'll use for painting
Standing in the back room looking towards the entry
Needless to say, I’m very happy to have the space! I can work on stretchers and paintings without being cramped. This space was made possible by Rick Maxwell a Dallas sculptor and professor of art.
Painting Music
I wanted to share my playlist with you! This is not exhaustive but here are a few tunes I listen to while I paint.
In other news I am about 80% moved into my new studio downtown. I’ll take some pictures today. It’s really nice to have space to move around in! The space can also double as an exhibition space.
I start a figure painting workshop next week Friday but for now I’m making stretchers and getting ready for the show in February!
Enjoy the music. Click on the Pop Out option below.
Love this quote
“We artists are indestructible, even in a prison cell or a concentration camp I would be almighty in my own world of art. Even if I had to paint my pictures with my wet tongue on the dusty floor of my cell” – Pablo Picasso
I found this quote on artist Banky’s site.
