When creating this pose, I wanted to evoke connotations of an odalisque Rennaissance pose – stripping away the idea of the poweful male, and using the pose to give ideas of the male figure being an object to be looked at, and not to be the observer. The shade of green is once again a paswtel tone, used to compliment the skin tone as the pigment itself can be found within skin.
I ultimately decided against putting this within the exhibition as I feel it doesn’t go as far to explain my concept as much as the other selections. I feel the pose doesn’t give a sense of vulnerability, but through the pose – such as in the arms – in fact evoke power in pushing itself up from the floor instead of looking like a struggle. Also, although I have painted the body in such a sculpted manner, looking almost like a Henry Moore sculpture, I feel the body doesn’t occupy the space as effectively as the others.
Through being inspired by the linear boxes and structures surrounding the human figures within the works of Francis Bacon, I have produced a series of studies using 2 tones of colour to envelop the figure Whereas only one tone remains behind the figure of the tone, the strips of white determines the figure’s space figure a space within the image.
In theory, the figure would look 3 dimensional by wrapping itself around the form, but due to the depth perception that allows our eyes to function the form is not allowed to come forward in real life as it would through a photograph or screen projection. I also believe that it breaks the continuity of the body form, and doesn’t allow the painting to flow from side to side as a composition.
By using my life drawing sessions with Barry, I have managed to convey the emphasis of space more effectively than the two tone studies, simply by suggesting the use of space. In my circumstances, by implementing shadow in a certain manner, or exagguerating the body position, such as in “Pink”, I can create the sense of space within these studies without having to break the body’s flow through a painting
Although a painter of animals – horses in particular – I was particularly motivated by the grandeur scale of George Stubbs painting “Whistlejacket” that is hung in the National Gallery, London. The technique in which Stubbs employs is something not seen often within 18th Century paintings – portraying a figure on a solid, flat background. Only through the technique of shadow under the hoof is the whole solid tone then set as the viewer’s eye as a 3- dimensional plane. The grand scale of the horse itself (lifesize), creates an uncomforting feeling of the horse being amongst the crowd, which goes to reaffirm the idea of planes into the composition. Although my human figures are not lifesize, I have attempted to create feet that are closest within perspective as close to lifesize as possible in order to give a sense of presence as seen in Stubbs’ Whistlejacket, and through the contrast of scale seen in the head vs. feet strengthen the relationship between body and outside.
By subtly adding a slight suggestion of shadow, I have implemented the solid background into creating floor and wallspace to allow the body to become a 3-dimensional form. I have worked closely will purple tones within the body to create stark contrast between body and background and further push the feeling of the two being almost seperate paintings.
I have been particularly interested iun how the body curves creates a bow, arcing around the contrast, which not only is important as a composition, but suggests there is a weight to his body, hanging him downwards and heightening the feeling of succeptibility
In the same way Graham, Crowley uses single toned backgrounds in order to create a spatial relationship between object and space, McGowan makes this prevalent in his own life studies. However, where this singular tone is used in my own work to give a sense of weight, and spatial relationship to the figure, McGowan’ use of background is used to give weightlessness to the body, only to be ‘brought back down to earth’ by the weighted drops of paint dripping down the canvas.
Through thick, viscous brushstrokes we see a contrast against the solid, flat background that pushes the figure forward and creates a distinction between body asnd space. With relation to my own work, I am particularly interested in how the brushstrokes are used to enforce this sense of space, with curving brushstrokes used in order to almost ‘sculpt’ a hip or push out the underside of a breast, whilst the use of pinks and blue contrasting not only go further to pushing parts forward and backward, extend on the sense of vulnerability and frailty seen in the human figure.
In this painting I am focused about how the legs reinforce the sense of a flat plane and sense of direction in the images. The leg in the foreground is far larger than that within the background, further creating a sense of perspective, that on such a scaloe would give suggestion that the figure is far larger than what it is, or that we are actually smaller or very up close. I have chose an almost flourescent yellow, to evoke a sense of alarm or discontentment within the viewer, whilst the colour could be suggested to look almost like a urine yellow. By positioning the legs in such a manner, they allow the viewer’s eye to flow around the page, whilst keeping that awkward sense of space against the body in the top corner, which was also present in my previous “Blue” painting
By taking the square painting up to a larger scale, I feel that I have asserted the body’s emphasis within the room and thus making its presence stronger. By making the foot life size, I am conveying the illusion of it protruding out when compared to the rest of the form.
The swooping brushstrokes pushed around the body force the eye into sculpting the body, whilst with this thick application of paint give a stark contrast to the flat background on which its set upon, almost looking like a combination of two different artists. I am pleased with the pose, which although comes across as erotic, gives light to a different approach of the male form, on that looks withdrawn and powerless. I’m intrigued to how the composition awkwardly fits the canvas, with all the body situated within the pose, but has ample space in it, giving suggestion that we are looking through a window at the unknowing subject, something I wish to carry on further in my paintings.