Through James’ tutorials he has given me a much greater understanding on how the human eye works in relation to a painting. Beforehand, I had good knowledge on the use of perspective in art, but now I feel I can manipulate my own work to contort these forms and really let the viewer into the piece.
In this work I decided to play with Cézanne’s still life work, such as the exaggerated and sometimes unrealistic perspectives and use of line, and when combined with use of contrast, blended with the impasto, Cézannesque brushstrokes in the foreground allow the painting to come to life. The cutting of the edges (most particularly around the skull) create depth within the work.
I am hoping to add cloth the to foreground, hanging over the table to push the foreground forward and make the image as a whole seem closer to the viewer. I will also be looking at how this can be used in my sculpture work and create a mixed media piece
When producing my lard sculptures, I have been intrigued in the idea of representing the human form, albeit abstracted, through materials it is not. This has all stemmed from the way i way layer and apply paint onto board in such a manner in order to create skin, and then in turn through my clay busts. When creating the clay mass ‘sculptures’, I was inspired by how Renaissance sculpture would depict the viscosity of the body through a cold, and unforgiving structure such as marble. When looking at my Lard sculptures, I think that these even more so have a viscous feel to them, but I find it important how they in turn mimic the cold, solid properties seen in classical marble sculpture.
Rape of the Sabine Woman – Giambologna
In Giambologna’s Rape of the Sabine Woman, I am drawn to the way Giambologna represents the skin through marble, such as where the hand of the Roman presses into the hip and creates a fleshy mould against the hand. It appears to dehumanise the human form and make it appear no more than a hunk of flesh, contorting to find it’s most natural pose. I am also inspired by the way the structure of the Romans, and the more muscular representations are depicted also as mounds of marble, but also more veinous.
The Rape of Proserpina – Gian Lorenzo Bernini
The same can also be said for Bernini’s Rape of Proserpina, which is a depiction of the Roman god Pluto abducting Proserpina and taking her to the Underworld. I want to be able to replicate this heavy mass and then contrasting oleaginous portrayals of the body.
However, marble can also be used to represent other materials though sculpture. 19th Century artist Raffaelle Monti fantastically depicts the flowing veil against a woman’s skin. I am captivated by how these solid structures can be made to look so fragile and fluid. I have attempted to replicate this through the stretching of the condom over the lard, and through breakages in the rubber to allow the ample mounds of lard to seep through.
Raffaelle Monti – Veiled Lady