HUNG!- EvaluationPosted: May 5, 2016
I think that through my final peaces i have been successful in achieving what i first set out to do which is creating an ambiguity of relationship between the figure and ground. Through colour combinations and gestural marks i have created a distribution and balance of form. The compositions of the ink drawings are all inspired by collaged photographs of my own body layered over each other and i believe the sense of the amalgamated androgynous forms are apparent in my drawings. The ink drawings then lead us to the oil paintings which they inspired. I also think that the pieces are successful because although they are based on my figure that is not inherently obvious and the universally recognisable language of the human form asks the viewer to consider their own body and become aware of self.
I believe the way i have chosen to display my work also reflects this, the viewer is firstly confronted with a grid-like layout of a colourful, visceral, dismembered and emerging bodily imagery which is effective because it allows us to view them all at once, like a body of work or a study, this then directly leads the viewers eye line to the four large paintings on the wall which in contrast offers the viewer breathing space between each complicated composition. The paintings and drawings are hung at quite a height since i wanted the open and sexual compositions of the figures to confront the viewer at eye level, thereby having a more dominating and engaging effect. The colder paintings were placed in the sunlight as they could handle it without it reducing pictorial depth, the portraits of each pair of painting complement each other and the lilac branch of the light pink painting leads the viewers eyes to the lilac in the top left corner of the last painting which offers space before we enter the complexity of the last composition.
It is important to me that the viewer still gains a sense of the human figure in my painting. I don’t believe that a depiction of a body can be as objective as that of a chair or object. Both mediums of painting suggests figures engaging in the drama and tension of a human experience. The inks wet on wet look ad to the concept through it’s gestural fluidity and dynamism whilst also giving in to chance and accident. The oils show a stronger ambiguity of narrative and gender through the tonal balance and discord of complimentary colour and forms, this creates a confusion of pictorial depth with regards to the figures relationship to the room.