Below is a collection of my finished projects from the Autumn Term FA2ART. You can read about these assignments and see the planning in Studio; all of my reflective writing is tagged ‘reflection’. Please also visit the Artist Influences tab, and go to my Personal Blog to see my independent work.
This exhibition of moving portraits was created using mixed media before editing it digitally into the finished artwork exhibited; a series of animated portraits presented on flat screen televisions. This presentation was necessary to make the paintings seem like regular portraits, only moving uncannily. The self-portrait is an illustration of a psychological study that I conducted which found that stress predicts depression. Hence, as more stressors are added to the background, the more distressed the subject and the medium become. Francis Bacon’s distressing portraits echo the message and style of my self-portrait; as the distortion of his subjects comments on their trauma, the gradual distortion of my self-portrait comments on the gradual descent into depression. The curious nature of the moving portrait is a staple of fantasies, and an unsettling trait of great portraits such as the Mona Lisa. This penchant for the dramatic can be seen in the presentation of my prison project, which featured spotlights on either side of a slowly swinging bird cage sculpture. This was created as part of a collaboration with Fiona Jones and Blaize Lynch.
The process of creating these animated paintings involved first painting the portrait to a standard that could be considered complete, and then satisfyingly painting over it bit by bit and changing it in miniscule ways, taking photographs at each stage. The photos are then edited in Photoshop and made into a slideshow, before being edited further and looped using iMovie, (which I learned about while working on my summer project, Projecting Hate). The exciting new feature length film ‘Loving Vincent’ by Breakthru Films, directed by Dorota Kobiela, was created using a similar process but on a much larger scale. Like this film, my paintings come to life, giving the subjects and the psychological states more of an identity. Bill Viola’s work has a similar effect, with his super slow motion portraits taking his snapshots of life to another level.
Like Bill Viola’s work, which makes the significance of the smaller moments of life more salient, my paintings aim to expand upon the snapshot narrative usually caught by static paintings, showing in this case how people and their psychological states can change. My works often centre around the idea of illustrating the world in a more intriguing, magical way, such as last year’s floating boulder sculpture. Here the animations illustrate psychological ideas and states, but in the future, the path of animation may lead to illustrating other scenes; from everyday situations to more fantastical ones.
The finished paintings as they appear physically:
The show that we curated in the week before term September, 2016.