Perception Series by Loleithaart

Reflecting on this blog… I find grammar a struggle. (I guess you may have noticed). #dyslexia. However, this medium has given me the platform to express my thought processes about my artwork and continue to seek out relevant artists that express the same themes, i.e. identity, race, and gender-representation. I wish we were asked to do this from the beginning of the course or maybe from the second year.  I was really encouraged to continue with my own ideas as I found how the artists, Augusta Savage, Kara Walker, Kehinde Wiley, Sonia Boyce presented and illustrated their works of art.

My focus continues to be from my cultural lens, cultural memory and Postmemory. As my journey tells a story in art, and supported this with research on artists who worked within the same scope.  My findings (artists) gave me the reassurance that I was on the right track with my thinking process and learning more about the methods for the materials that I chose to use.

I’m not going to speak on my final project, as I want the artwork to speak for itself.  I am tinkering away on things and all is going well.

I am reminded of some of my first works… The focus was children. Birth Inspiration and Purposeful Birth Creations  © 2005 -2016. These artworks show that the subject ‘identity’ has always been a compassion I’ve strived to articulate.

Purposeful Birth Creations, #loleithaart

This artwork was made in relation to birth, I worked quickly, as the model was in their last trimester. The plaster started to crack at the top of the breast; so I chose to paint it with latex, which created a skin look. The indexical traces of the breast and belly button gave this a realness or authenticity. The definition of the indexical relates to a sense of being for the visual arts, to be able to create an archetype made the art exciting, capturing this moment in time as the baby will be born and the belly no more.  Krauss, a psychologist, quotes that we identify the correspondence between the “physical transposition of an object from the continuum of reality into the fixed condition of the art image” (997-998). The art process of this work using materials such as clay or plaster gives a more live artwork.

“Make art from your heart, from your cultural lens. It is freeing to express your inner self”. Loleithaart, 2013-2016

My chosen themes that I explore are subjects that interest me, such as identity race, and gender representation throughout art. My purpose for reviewing these elements of life is to use them to produce a series of meaningful images and artworks. I investigate the perceptions of people of colour and particularly Black Britain.

I am currently working on this new piece so far it’s taken 3/4 days to get this far, I am happy with how it is progressing, it is definitely a creative flow that I’m experiencing, I am just going with the Freedom! Even though I am working from a sketch and images, I have taken.  I am figuring ‘how to’ as I go, living and learning.

The artists I am researching alongside sculpting are Rodin, Edmonia Lewis and Augusta Christina Savage, who I wrote on in my dissertation.

François-Auguste-René Rodin was born in Paris 1840, and highly known for his sculpting and painting. His approach to sculpture was like a craftsman, but he worked hard to be recognised. His work had an individualistic character and did not follow the norm. He was who he was. He stood his ground and didn’t conform to what was traditional in the way of sculpting. The artwork that inspired me was ‘the thinker’, 1901, because it represents people then and now.

Edmonia Lewis 1844-1907; an African-American and Native-American sculptor. Lewis worked mainly in Rome s another artist who is known for putting an emphasis on relating her Neo-classical sculpture style to African-American  and American-Indian physiognomy.

While reading the ‘The Art of Illusion’ page, 291, I came across this quote…

‘ I believe it is only by considering these psychological aspects of image making and image reading that we may come closer to an understanding of the central problem of the history of art, that is why representation should have a history, (Gombrich,1990).

As artists I think that the above quote is expressing, ‘we bear witness through the self-expression of making art’. #loleithaart.

During my second year, I was involved in a project with the ISCRE Leadership Academy. This programme was designed to encourage and support young Black boys while in Ks3 of their school journey.

My part was that,  I held an art class of 13 boys, I chose a role model from society and one which was in the media that the boys would all know and hear very good reports of… Nelson Mandela, a strong man that had overcome obstacles with grace and peace. I set tasks for them 3 tables of 4/5 .

1st table was drawing Mandela the iconic figure and learning 5 facts about him. The 2nd table focused on self-portraits and then they drew each other which brought about some funny characters and some not so easy portraits. I was able to notice that not everyone was able to depict or approach the task on themselves positively. But we had breakthrough nevertheless. And the 3rd table worked on creating their very own cast to take home.  Picture above.

This work was titled ‘we can achieve much.’ 

I used that line to get the boys attention during the class; it’s what I had learned during my micro teaching sessions while on my PTTLS course, I was completing it at the same time as working part-time at the local charity ISCRE and at Uni.

My paintings are depicting the young boy and man being ‘focused’  and achieving much with their natural skill set. Seeing and focusing on who they are perceived in the mirror and not what society and the media illustrates. #identity, #perceptions. #loleithaart.

While researching, I found this amazing artist Kehinde Wiley; his work speaks for itself truly. He depicted a series about young Black men. Wiley is an African-American artist, born 1977.  His contemporary large-scale paintings illustrate, erotic poses, using figurative poses and reference from the Old Masters.

Wiley cleverly uses the traditional style of painting and blends his kudos of urban hip hop styles, and also displays his West African heritage to illustrate power and heroic mannerisms in his cultural lens. His models are people /men/youth from the street; specifically, Harlems 12th Street and from where he was born the South Central neighbourhood, New York.

Kehinde Wiley art, taken from a series of his works.