Background for project to date, andcurrent direction for project 3Following on from previous projects andinvestigation, I wanted to develop the idea ofinpretation of self through the investigation ofhistorical representations of self portraiture, andthe exploration of how these representationscan extend my understanding of my own selfportrait.In my previous project, selected self portraits bythe likes of Frida Kahlo, Pablo Picasso andChuck Close were used to base my...
Direction for project contd.investigations on. I chose these Artistsbecause, either their own self portraits hadbeen re- interpreted by other Artists, orbecause they themselves had appriatedprevious Artists self portraits, into their ownwork.After selecting these Artists and paintings, I sortto understand the formal choices these artistshad employing. To do so, I sketched myself intotheir compositions. In doing so I came to learn
Direction for project contd.different ways of describing my face. It was afreeing period of expression. Particularly freeingwas the removal of precise attempts at realism,which improved my abilities to conveyexperimentation and self expression.In my previous project - after sketching myselfinto the compositions I had selected - I paintedmy version of those paintings onto a mirror so Icould examine the idea of relfection andinterpretation through self portraiture.
Direction for project contd.Painting onto the mirror and photographing myown reflection through the brushstrokes wasalso a way inserting my presence even furtherinto the resulting art work and to communicatethe idea that the artist themself, can seethemselves in new ways, through the process ofinterpretating their image into new art forms.But before I explored that idea more deeply, Imade painted sketches of the photos from myprevious project, because I initially had theidea...
Painted sketches based on previousmirror reflection photographsto expand those photographs into moreabstract inpretations of quotiational selfportraiture. But after making the sketches I feltthat I need to extend the idea of interpretationin a more diect manner, so I returned to mypencil sketches from my previous project, andto the other Artists art works.
Painted sketch for the Chuckpainted reflection
Painted sketch for the Helenpainted reflection
Painted sketch for the Picassopainted reflection
Me as them, as me experimentationTo increase my understanding of the idea thatto see myself in new ways I will interpretmyself through my idea of the style employedby other artists, to find new ways of seeingmyself, I revisted my earlier sketches andpainted myself into the composition of theearlier art works.In the first intance I painted myself as Picasso.Unlike my first attempts at appropriate earlierart works where I was adding my face to the
Picasso as PicassoI deliberately tried to intergrate my faciafeatures more fully into the manner of theoriginal painting.
Me as HelenVia these experiments,I was so pleased todiscover how flexible oneface, my face in this case,can be, to the manipulationof the artists intention.
Double the interpretation andappropriationAfter deciding what I looked like, through myinterpretation of another Artists self portrait, Iwanted to do the same again but this time, Iwould take the composition from one Artist, andthe style of another.My intention for attempting this, was to find outif this form of double interpretation would showme even more ways to see myself.
Double the interpretation andappropriation contd.In this first example, I have taken my idea ofthe framing and positioning of my head, fromChuck Closes self portrait, and the colouringand stylisation from Picassos self portrait.
Double the interpretation andappropriation contd.In the next painting I have based thepositioning of the head on Picassos selfportrait, and painted it in the style of EgonSchieles self portraiture.While I was relatively pleased with theseexperiments, I was aiming more for a musicaljazz riffing between the diferent Artists ownstlyes.
Idea behind the final series ofpaintingsWhile I appreciated my attempts at mixing thetechniques of teh previous artists, I felt theresults of those expreiments were too stylisedand were not showing me new ways to see andunderstand my own face, and indentity.So I returned to my previous idea of paintingme into another Artists self portrait. All throughproject two and now three, I have had goodresults where Fridas portrait was beingexplored, so I returned to her painting and
Final Series Chuck to Egon, toFrida, to Helenappropriated her paiting again. I tried to notonly paint my face in her setting, but to mouldmy own face and hers together. I wanted ahyrid of the two faces, to reflect the idea that,by incorporating her history with mine, myresulting image will be partly mine, and partlyhers.
Final Series, painting #1 Me/FridaI am so pleased with thispainting. It doesntembody the same levelof pathos, that Fridasoriginal does, but I reallyemjoyed melding myface to hers, in hercomposition - telling mystory through hers.
Final Series, painting #2, From Fridato HelenI liked my Frida paintingso much I wanted torepeat the composition inanother style. This time,I adopted and adaptedHelens circular bottle topsand made a more success-ful version of a doubleappropriational painting.
Final series, painting #3, ChuckAfter being so pleasedwith the progression fromthe first Frida painting, tothe second, I wanted toattempt this process againto see if it was repeatable.So, this time I melded myface with Chuck Closes.
Final series, painting #4 FromChuck to EgonIn this final painting Imade a small addition tothe process by retaining thestyle of Chuck, but changingthe underlying compositionto that of Egons self portrait.While perhaps not quite asstrong as resulting image asthat of the second Frida,
Final thoughts on the final seriespaintingsthis painting still pleases me. I particularly likethe resulting abstraction of the portrait. And Ithink all four painting have proven (at least tome) that there are many ways to express myown image and show who I am. Equally so,those ways are only one short step away froman expressive form of abstraction which couldpotentially be explored and developed intosomething new. However, the strongestpaintings remained within those first layers ofappropriation and interpreation. Which issomething I imagine the earlier Artists