Unlike Yves Kleins’ carefully rehearsed and intensely choreographed performance pieces, van Lankveld is one that takes a much more organic approach when confronting her painting. The artist doesn’t seemed to have any preconceived ideas of what the piece will look like before she begins. Van Lankveld works predominantly by pouring thick wet oils onto a board and then in one action she takes through a different colour in bold/sharp strokes, until an essence of a figure emerges.
Today we had a workshop involving subtractive drawing, beginning with quick and bold gestures using charcoal and then continuously rubbing it back, repeating this process over and over again until the background became a mutual dark grey paste and then worked into the highlights of the face with white chalk.
It seems as though ever since man began to represent their surroundings they have been creating a human form. Although the sculptures that date back to 24,00o bc were not made for artistic purposes and most likely wont considered sculptures, however it’s clear that the desire to re-create man within a space is something that has been embedded in our nature from the very beginning.
The photograph shows Klein leaping from a Parisian suburb rooftop of Fontenay-aux-roses onto a concrete floor. This carefully choreographed performance paradoxically creates a sense of freedom through a highly contrived process of overlaying photographs. I believe the photograph captures great suspense as we can inevitably see what is about to happen even though the motion is paused at a critical moment.
Continuing with this concept of creating movement through loose application of paint i decided to create some pieces using oils instead of acrylic, i felt that this would be appropriate for the reason that oil paints tend to keep there fluid quality even when they have dried. I find working with oils much more exhilarating as one can be much more malleable with the mark making and it allows for greater confidence within it’s application.
After looking at the works of Artists such as Cecily Brown and Rezi Van Lankveld i decided to move on from overlaying to experiment with capturing motion within the fluidity of paint. Through using figures these artist create imagery through loose wet swirls of paint, generously pouring their medium onto a canvas and working into it until a figure appears. I feel this effect of a dripping canvas then creates this sensation of motion for the wet liquid suggests continuity. Using classical Renaissance poses i tried to re-create these techniques/methods within a few of my paintings, however to improve i would work on a less medium saturating surface. I would have to be much more generous and much looser with the application of paint to achieve my desired effect, i would need to work as if i’m sculpting the figure from the paint rather than painting in the figure.