Folio #2 Process #4

In this folio I am exploring self portraiture. By using myself as the model, instead of someone else, I can investigate my sense of self and the feelings of fatigue and physical limitations that I experience. When we draw in class we look at healthy bodies that hold poses for a period of time. I wanted to implicate myself into the work as the 'acting' model. 

Folio #2 process #3

Working on some self portraits.

Folio #2 process #2

I have been struggling alot with the second project. I've bren drawing but haven't been liking the outcome. Here is one experiment.

I have started another drawing to continue exploring fatigue and illness. It's a self portrait. 

Folio #2 process #1

I made the costuming in these photographs. I have decided to use myself as the model. I like the anthropomorphic characteristics in these images and want to explore this further.

This drawing is still a work in progress.

Jess Cochrane

Last night I went to the Powerhouse and saw an exhibition by a young NSW artist. She prints off photographs of her models and then paints directly over them. This exhibit had very large works and were completely captivating. Alot of her work looks very mask like and surreal.

Charlotte Caron

Charlotte Caron explores the humanizing of animals as she transforms her human subjects into animals. Caron uses acrylic paints and draws animal faces onto  the photographed portraits of people. The results look like masks and each animal mask gives the portrait a new personality. She uses the contrast of painting and photography to reflect the contrast between human and animal; civilized and animalistic. 

I am very interested in the interaction between masks and people and like the idea of making that mask (possible other covering) animalistic. The anthropomorphic is a very interesting concept. 

Cropping experiment

I experimented with some cropping in my life drawing class this week. I liked the sketchiness and quickness of the marks in this work.

Response to Rosand

'The Phenomenology Of Drawing'

David Rosand

In this chapter Rosand discusses the relationships between the model, the artist and the viewer. The involvement of the audience is a very important part of art. Personally, I create art to be seen by others. I don't draw with the intention of hiding my works away. 

Rosand discusses how we, as draftsman, can each create something different from the same subject. We all view the world in a different way and that is reflected in our work. The body of the draftsman also becomes an integral part of the work. The movement of the body is recorded by each marks that is created on the page. Through these movements we begin to understand the draftsman.

'...the draftsman himself knows the world only by drawing it; the artist 'sees' with hands as well as eyes....'

He goes on to say that drawings that are done quickly and left unfinished are then completed by the imagination of the viewer. I think this is a very interesting point and it is something that I believe we, as a viewer, do. Sometimes leaving something unfinished can achieve more than if it was completed by the artist. It allows the viewer to interact on a personal level with the drawing and implicates them into the creation of the work. 

Within this reading, Rosand discusses some very interesting thoughts on the relationships in art. When I am drawing I don't always think about those relationships and who will be viewing the work I create. It is something to keep in mind when I am creating something. 

Class #8

This week's class was extremely difficult for me. We were set the task of combining both the model and the artist together. I tried many different ideas and feel that a lot were unsuccessful. I feel that the last image of the two figures overlapping is the most successful experiment. It was interesting having the model on the floor and drawing on the floor- at the same level- and seeing the pose of the model reflected in the way I sat and drew.