The typical street art imagery and reclaimed materials I have used seem to be more closely related to the subject matter than traditional oils and canvas. However, there is still some value in the traditional approach as I need to explore all aspects of realism. Reflecting back to one of my previous blogs, I had made reference to Kahinde Wiley and his distinct use of classic compositions where contemporary figures were given an equal value and status as the subjects of the originals paintings. As status and equality are important elements of my work, I aim to incorporate my traditional methods into my body of work as I feel that Wiley’s approach proves to be very effective and powerful. Saying that, I am not about to start painting people in homeless situations on horses but I do aim to treat them with the reverence of traditional portraiture. Having worked with both mediums (cardboard and canvas) I believe there is room for both without conflict. The combination of the two in one show could be very strong. I am about to test this by painting the same subject in oils on canvas and see how the two sit together.
Attached to this blog is an image of a canvas I had begun with this in mind, with some reference to Johnathon Yeo’s portrait work. After looking through Yeo’s catalogue I have developed a stronger interest in his independent work as it is bolder and holds more honesty than his commissioned portraiture. This element of honesty and personal conviction is something that I want to be present in my work.
See Image 3 > Independant work
See Image 4 > Commissioned work
After two very long and productive days in the studio I have made some real progress!
Day 1
Day 1 mainly consisted of drawing out ideas for the background and after much anticipation I tore the majority of the background away, making the background look rough and textured as shown in the first image. The work overall had much more of a punch, drawing the viewers attention to the face. However, I still felt that more experimentation was needed and that perhaps introducing some different tones would give the piece the kick I was looking for. I also had considered introducing some washes and drips to explain the traces and marks that are left on all of us by our deeds and experiences.
Day 2 (Today)
I have applied a wash to the background that I allowed to run down the composition. The results so far have been satisfactory. Perhaps the cardboard elements of the face could now be treated in the same way, as the cardboard sections of the face are now looking flat in comparison. This will be tomorrows challenge. It is missing something but I cannot figure out what!
The Carving has Begun!
With the dark tones and the highlights painted in, I was ready to reveal the mid-tone. I began by slicing through the cardboard for the finer details and tearing the broader areas.
The torn areas could be seen as a metaphor for damage and resilience, the surface is broken and damaged but not destroyed. The exposed cardboard gave the portrait a physical depth and hopefully a psychological depth.
Having exposed the many tones and textures of the cardboard the painted areas began to look flat in comparison. The white background perhaps now looks too stark, but rather than seeing this as a weakness I see this as an opportunity to explore and experiment.
I have thought about the possibility of adding drips, dust, dirt or tearing more of the background away, however it cannot remain in its present state. Perhaps the flatness can be cured with another tone or wash?
