After experimenting with different coloured backgrounds and what effect it has on the skin tones applied to the painting, I wanted to see what effect a stark contrasting yellow would bring to the form. I have left the room featureless, as I wanted to play with the idea of the 3-dimensional form in time and space. I have pushed and extended the portrait to a full body nude, and have decided upon painting the figure crouching on all fours, in order to highlight the animalistic nature I am trying to achieve in this work.
I think the composition works quite well in the piece, and the use of canvas instead of scrap board pushes this further as a piece of artwork, however I think I need to paint on a larger scale in order to fully achieve the representation of flesh into my work, whilst marrying a greater variety of skin tones on my palette.
In my next work, want to possibly look at poses which look at the ‘frontality’ of the human anatomy, in which we are built with all of our sensory receptors in the front of our body, which limits our peripheral view, as we cannot see behind us. I want to portray the form in a manner which deals with this fear of the unknown through a carnal manner.
In order to achieve a fluidity within my passages of paint, I have been inspired by the portraiture of Frank Auerbach. I am intrigued how the thick applications of paint hang over the portrait and become almost sculptural, whilst the creation of shadow through these masses of paint further extenuate the feeling of depth into the painting. The repetition and layering within Auerbach’s work through these swoops of paint give the portrait almost a mask like quality and acts like a shell around the form.
With relation to my own work, I feel that the voluptuous thickening of the paint is something I wish to achieve in my work, as the oily and viscous paint comes forward to give this tactile representation of the sitter. These paintings seem almost primordial, with use of shadow reflecting on the primitive cave paintings of early humans, and how the paint is applied like mud slobbered onto a wall. I wish to use this primitive approach in my own paintings to convey the human form less as a transcendent species and more as creature.
In this second portrait of Ethan, I am once again looking to push the human portrait away from this idea of the portrait being a representation of the human form as transcendent beings, and to bring forward the carnal nature imbedded in us as human creatures. I have once again mixed thick lumps of lard into the paint in order to bring forward this fleshy, meaty texture that comes forward in the paint, whilst also manipulating shadow to bring depth into the painting. I am quite interested in the part light has to play in the painting, where not only the globular masses of paint hang over the paint, but it also has a primal quality, as it has implications of prehistoric cave paintings where early humans used shadows on the cave walls to represent animal features.
I have deconstructed the face in this painting as I wish to dehumanise the sitter in the painting, whilst keeping the essence of the person. I decided upon painting these works on scrap board, as it pushes away from the glorifications seen in portraiture, however after seeing it applied here I think it diminishes the quality of the painting as a whole.