Nature’s Alter-Ego; a Triptych
This Semester I have focused on producing a set of drawings inspired by capturing emotion, or more to the point, capturing a sense of emotion to trigger in the spectator. As I have progressed (as is shown in my folder) the work has intended to become darker, and slightly more aggressive and painful looking, such as I find in expressions in Goya’s etchings. From this I have generated a set of drawings and collages that have each their own individual make up; the same image is never used in any of my collages more than once to become a part of it, I believe you are not creating anything new then, simply adding to something already existent. I prefer the concept that Francis Bacon once suggested, that people are more scared of the synthetic, something that is alien to them.
Bacon has influenced me greatly; this can be evident in my triptych of drawings, each drawing existing by a process of creating three individual collages as standalone pieces, and drawing one of that set to be classed as one of the three drawings to be a part of the triptych; essentially 9 collages producing a triptych of drawings. Three as a number has always attracted me anyway, and this love certainly bolstered my love for Bacon’s work furthermore.
My work has been created by ripping and tearing sections of faces from newspapers - and later on magazines - to then form deformed, tortured and mutated faces out of these sections by first placing the eyes and mouth, and shaping all other parts to fit to these three key parts of the face thereafter. Because my pieces are made with the purpose of proposing a certain emotion to well up inside the spectator, I believe that emotion needs to be expressed and seen in the faces I create, heightened by their distorted and often ludicrously formed features brought together into abstract forms of facial mutations. To me, the eyes and mouth are quite obviously the most necessary parts to acquire first and foremost; being key elements in expression of emotion I believe all other parts of the face simply contribute to their effort. The rest of the face is then acquired and pieced together using different parts of various faces, and I then produce a drawing from that.
The drawings are formed by taking the collages, and visualising them as one entity, a newly assembled face, though still deformed. I then readjust as I draw from the collage, to capture the newly formed face how I want to see it, given that the torn out facial features of a collage are not sized specifically to my specifications, I can instead alter these in my drawing, creating something completely of my own design in essence. Towards the latter end of my development folder you will see a further understanding in visualising the faces as 3 dimensional objects, this credit given to studying further into Lucian Freud, giving them a further lease of life and more vibrancy and connection to the real world in which we live in, and so connecting further more with the spectator, upon which I wish the drawing to engage with the spectator aesthetically and emotionally.
My final set has gone well, after initially poorly presented work that was more about quantity than quality, I have honed my abilities, considered and cared for my work from initial tear to final charcoal blend, and so in doing so ended up with a final result of work with a good amount of development, and a keen awareness of presentational values. Overall I believe the pieces are a success as they have developed well to become something visually appealing, and I believe in creating the pieces I have grasped a better understanding in presentation and care for the work that I produce.
I expect to carry on with this way in working, creating pieces that can further interact with the emotions of the spectator, further exploring presentation and visualisation of my work in a given space, and working upon furthering the way in which my collages are produced and how my drawings can be bettered, possibly through the use of different media, different source material and so on.
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