‘Trapped Flesh I’ and ‘Trapped Flesh II’.
These images show how these paintings have developed along side each other.
My process for painting has been affected through the artists I have researched and my experiences during this projects development.
-In the Maggi Hambling lecture 2014, I attended at UCS, she spoke of painting from memory and imagination.
-Bacon spoke on The SouthBank Show, 1985 saying he used several images to paint from as he didn’t believe one image could capture the perfect picture.
Although I had imagery for both paintings I too experimented with my imagination.
-I did not rely on the photographs.
-I freed myself from replication and tried to use the paint emotively.
-I had already drawn and study my flesh and I feel I had absorb this information. I WAS DEALING WITH A FAMILIAR SUBJECT.
During my painting process for both paintings, I touched the flesh on my neck and chin with my left hand whilst painting.
-I felt my flesh’s physicality!
-I found myself stretching into the same pose. Silently baring my mouth.
-Re-entering the emotional state of mind.
I think that these paintings are my most successful in this project SO FAR and have achieved the nearest to what I set out to achieve.
The relationship between the two are strong and I think this came from painting them at the same time – They work as one painting.
I have thought about making a third head to go alongside them. Would the relationship and language be different as the time of the paintings conception will be further on in my project?
A key area in ‘Trapped Flesh II’ is the area which describes the chin and mouth. To me it really feels like gathered flesh. Almost papery flesh like dead or old skin.
– There are varied marks in this area. Is this why it is successful?
