In this series produced for the Exposure exhibition within The Abacus, the figures are primarily transfixed on representing the bestial nature of the human form. Although we have conscious thought and reason instilled into us at an early age, we still obtain an animalistic nature that we do not get away from. The series, titled “Descent from ‘The Cross'”, named so in order to evoke ideas of transcendence seen in previous Renaissance artworks, and to push away from this idea of the human form being of something of a higher power, whilst also including apostrophes over “The Cross” to give connotations of a return from a pub, highlighting these sloven and brutish traits that still inhibit us.
Through stripping the form to this bare, fleshy texture, the paintings are pushing away from this transcendence and glorification of the human form, and a body ideal. The Lard not only through this globualar texture pushing the body amongst the spatial composition of the room, but through the implication of lard being animal fat adds a sense of substantiality to the painting.
However, I feel the backgrounds are not in fact complimenting the idea of the human form within space much justice. The seems to be a certain obscurity in the fact you are not aware of the figure’s size in relation to everything else, the figure could be gigantic, or minuscule. In order to change this, I intend on manipulating the form in order to exaggerate this sense of depth.