Analysis of a Painting A self-portrait head in heavy impasto and palette knife-slicks of Prussian Blue and Lemon smeary-scrapes floats on a brushy thin Terre Verte ground. Along the bottom edge of the painting, black is stiff-brushed on and a delicate repeat pattern is scratched in (sgraffito). The title Bilious Me is squirted direct from the tube in lurid yellow and lime.
I am now ready to follow up from this oil painting from a few years ago. The work came from instinct, but I didn’t know what or how to continue. I can now develop the idea.
In past months I’ve been preparing the Self-Reflection project with research and a series of pastel drawings of other artist’s self-portraits.
Self Reflection: a mirror before me, equipment to one side, art books to the other side, I draw the self-portraits of other artists and also myself. I draw the selves they present. I re-present their introspection. I observe, draw, reflect, alter, refine. My eyes flicker to my own reflection. As we look at self-portraits we reflect on ourselves.
Laura Cumming writes of the self-portrait trinity of image-object, private self, public face. The following drawings are presented as triptychs referencing Cumming’s concept, and beginning to think about the three different views of oneself in a dressing table mirror.
The next stage of this work is a series of painting that explore the motif of portraiture and colour symbolism. I am provisionally calling this concept Colour Trait – an interplay of painting tropes: pigment types, application methods, colour symbolism & pathetic fallacy. The paintings will combine colour symbolism with the representation of identity, mood, and the motif of the face.
Other Portraits (Colour & Mood)
Drawn from Lovis Corinth’s Ecce Homo (1925), 2011 Corinth’s Ecco Homo was in the Degenerate Art exhibition (Entartete Kunst) at the Munich Hofgarten.