Portraiture has always been rooted in the foundations of art since time immemorial, and over the past 150 years through technological advances and the work of artists such as Cézanne has undergone great scrutiny as we ask ourselves what it is about we wish to extract from the human form and why we continue to paint people.
As a painter I wish to give a sense of character as I invite the viewer into the painting, whilst exploring how the substance of paint and mark-making techniques can be used to convey emotion through replicating flesh. I intrigued by the viscous forms in painting, the dragging in passages of paint, and glutinous masses layered onto paint to represent flesh and masses.
In my studies surrounding Soap Television, I am trying to highlight the relationships we have with these fictional personalities, and representing this relation we have with them through portraiture. Although fictional, there is a resonance that these characters have in our own lives similar to close friends or relatives, and are glorified as celebrities as we reflect through their on screen lives through our own troubles, and due to our own empathy with these personalities I believe they should be accredited in art culture.
Continuing on my interests in the application of paint to represent flesh, I looked at how I can represent this in a 3 dimensional form, however it became more about the representation of body as a mass, and how I could give these sculptures a tactile feeling through pressing and moulding these shapes to leave impressions how the body contorts and becomes almost malleable, but abstracted enough to leave the viewer let their own experiences become more prominent. I think the collaboration between Latex and lard in some ways replicates how our body fat becomes one entity with our skin and even bone. The latex offers support to the lard, allowing it to remain upright and maintains its tension,as the lard allows the latex to become more pliable, and thus makes it unified.