Metaphoric Self-Portrait
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Metaphoric Self-Portrait Statement
Metaphoric Self-Portrait Statement
This metaphoric self-portrait is meant to be a reflection of my thoughts on art and, more precisely, art education. The basic idea is that art for me is an expression my feelings and thoughts, the bare roots of who I really am as an individual. This is represented by the naked crouching figures with the skeletons inside of them. The naked figures crouch as if they are hiding something, something deep inside and very important to them, the skeletal roots that make them who they are. The circle and sign in the middle of the portrait represent school and art education. Art classes sometimes have tight parameters and seem limiting and constricting, but when one is willing to work within certain restrictions and learn the methods taught there, the sky becomes the limit for the art they will be able create. The muscle sculptures thus represent the artistic strength one will gain after completing school. No longer crouched and concealing like the foreground figures, the muscle figures are not afraid to express to anyone who and what they are under the skin. This statement holds true for an artist as well.
Sketches
Brainstorm
Metaphoric Self-Portrait Brainstorming
Initially, both of my ideas were stuck on incorporating music into the work. Whenever I do art I have to be listening to music, my ideas just flow better and I'm more patient when I have music playing. However, after sitting down and thinking for some time, I decided that although music is very helpful to have around when I am create art, it didn't really deal with my thoughts on art education and development as an artist (unless one's a musician obviously!). Instead, the final portrait only included elements which dealt with my philosophies about the role school and teaching plays in the development of an artist. I decided to go with the more organic background from the second brainstorm idea, due to the fact that the earth is what has created us, and more importantly has given to us our organic nature. In my opinion, this organic nature is what drives us to be creative and artistic as we continuously attempt to adapt to and then manipulate our surroundings, leaving our footprints as we go. It thus seems not only appropriate, but actually necessary to use the organic background upon which the rest of the portrait sits.
Posts
After reading your statement I began thinking about what the crouching figures were hiding. I thought that maybe they are hiding creativity, and it is once you reach full circle that your creativity is fully developed. This full circle occurs after going through all the processes and different methods that occur in the art classroom. Then you are able to become the muscular figure, and a fully developed artist.
ReplyDeleteWhile looking at the images, some of them appear to be floating. By adding a shadow to the crouching figures and the rock wall it would help the images to be more grounded.
I think this one works really well. The crouching figures (to me) take on monolithic proportions, making them seem like sleeping stone giants ready to be awakened. The two figures in the back could be their awakened form, turned from stone to flesh. I think your artist statement reflects that idea too, that students have something inside them waiting to be let out, so good job there!
ReplyDeleteMy only gripe is with the school crosswalk symbol in the middle of the Andy Goldsworthy sculpture. Goldsworthy's nature-based piece makes the scene all the more sort of ethereal, but then you have a modern-day symbol slapped in the middle of it. Sort of takes me out of the piece, but I understand your reasoning behind it.
Reading your statement i thought about what you said about the muscle figures that you said were not the fully developed ones and i really liked the idea you gave about that. I think that this really showed what art means to you. I really liked the way you made it looks really hard to me, i guess the image of the muscular guys do look a bit like they are floating but other than that i really loved it and your statement.
ReplyDeleteAfter reading your statement I could more clearly understand the usage of the skeletons imbedded in the image. Initially they made me think of death rather than structure or inner core beliefs. Your incorporation of the hole in the wall with the cross walk for rigid rules during the learning process was easy to understand but I also thought that the muscular figures on top, looking down at the students, was still trying to convey more dominance or controll of art teachers over the creativity of their students. But I see where you were coming from.
ReplyDeleteI have two thoughts or comments. I would have understood the piece to mean what you intended if the muscular figures were looking straight forward which to me would show more confidence or self awareness. the second idea would be to incorporate something in the crouching figure perhaps a seed or something that would represent the potential for developememt or growth of the crouching figure.
The crouched figures at the base of your self-portrait, anchored by the underlying musculature provide a powerful and organic base for your portrait. One thing that might have helped the composition however would be to grayscale the stone backdrop to provide a common thread throughout the piece. I was also somewhat puzzled by your choice of what appears to be plasticized human remains from the Bodies exhibition with eyes fixed on the ground to symbolize strength and freedom.
ReplyDeleteWhen viewing the images, I noticed how the school children in the center were very simplistic figures while the other figures contained a lot of intricate details. After reading your statement, I see how you used these opposite types of figures to convey the simplicity of early education compared to the freedom and depth later developed in an artist's life. The use of the rocks compliment the figures as well.
ReplyDeleteI found both the images and your statement helped explain your feelings about art education and the development of an artist.
I see the two figures in the top of the picture trying to "reach in" and pull the students more into the art world.The figures in the center seem not to be interested in anything other than going to class and resuming their studies of their choice. The "reaching " figures are trying to pull them into their world. However from the look of the 3 figures in the bottom of the picture where they are being asked to go is not a pleasurable place to be.
ReplyDeleteNice. I like to speak design before I speak opinion, and so i'll start with the design layout and effect on my perception first. I am struck first by the horizontal division of the portrait into thirds. Then I consider the figures. Two, two, and three, the skeleton(s) overlaying the lower bodies, almost connecting them to the ground. The repetitive figures, and mirrored symmetry provides emphasis toward the center of the picture which becons you to the hole in the wall. The stone wall exerts a horizontal pull, which wrestles with the verticality the upper figures exert. I find some balance between the top half of the picture which contains the wall and muscular figures, and the 3 crouched guys at the bottom. There is contrast between the center "sign" cartoon silouettes, and the yellow-green back ground and the natural figgurative representations and their muted, natural color and rendering.
ReplyDeleteI also find it interesting that on the top figures, I notice the mushroom-like shadows, and the bottom figures, I notice the highlights on the figures' heads, and veils of skeletons overlaying them like roots, or tatoos.
Lastly, I find it interesting that the lack of hands in the upper half of the picture emphasises the hands in the bottom, especially the folded leg the hand is holding. This contrasts the missing hands and extended arms from the top half of the work.Which I will say is a good segueway to my thoughts on this piece's metaphorical message.
I like the whole "mirror" thing that's happening around the central "core" of the picture, which I take to be sign people on their way to school, or that school is near. However, there is enough balance that the muscle and flesh covered figures bring a personal feel to the message. The skeleton being the only figure facing foreward, with closed eyes, adds a bit of intimacy that draws you into the figures, and grass they are placed on.
The question to ask...Is it successful at living up to its title, and expressing Chris's intent? I feel it does live up to its title, and it does deliver on the space inbetween an artist and an educator, but might I suggest, that although the idea of "school" is present in the center of the hole in the wall, maybe taking that idea to a more personal definition, to "art" educator, or, even more boldly, Chris D as art educator (either truly figuratively) or metaphorically in a deeper way, like one real eyeball or something, might be nice. it is, I feel more of a reflection of self and the journey between self and "school" rather than a true self portrait, although metaphorically, it does deliver a message. The question to ask, rather than answer, is, does it say ENOUGH. For me, I'd like to know a bit more about the "end" of the journey, what "school" is it, and what are those buzzed bros concealing- so I'll leave it at this: Sometimes the best artworks leave some wonder to the viewer. Nothing's more boring to look at than a jigsaw puzzle that's been assembled. The challenge is in putting it together. Although I could ask for more, it is enough.
One last thing; I don't know about that rocky-ness in the yellow behind the sign people, that might be the place i'd inject some more demension. Something to really pull you in, and twist you up. I might have changed the color of the sign people, and those grounds/horizon behind them...if I told you to what, it wouldn't be Chris's anymore.
Nice. Intresting, somewhat captivating. B+.
I find the artwork to be well representative of the commentary; the thought process behind the expression comes through nicely. I like the top half of the picture and how it represents strength and foundation(stone). Also, I like how the "real" human form down below is strong and shows intimacy as well. Their positioning in a crouch alludes to secrets but the nudeness shows an uninhibited strength...I like the play between the elements of human form- skeleton, muscle, and skin.
ReplyDeleteCan a "metaphorical self portrait" really be a true self portrait without picturing anything "real" from the artist? I never considered defining a self portrait at the level of not actually appearing physically in it. Maybe it's a metaphorical self-portrayal as opposed to a "self portrait"...if there is no part of the artist physically pictured...or, is it enough to have one's thoughts and expressions or even a pile of stuff,stuff...like in an "I spy" book....to compose a reflective self expression? Would and could it truly be a self-portrait? I never considered splittting that hair before.
Anyway...I like it. And, it's better than I could do on the computer. Sometimes an artist's comments go far beyond or are completely different than what you see...the comments nicely allign with the work. Also, in dealing with "images" rather than the self, I feel they were chosen well to represent the subject. "loaded" content like war, starving children, political imagery etc. can all be overkill in visual commentary, and as an artist presenting personal commentary, I like the balance of artful (anatomy) content and school themes and how they were acurately presented with out too much drama-and a bit of thoughtful introspection.
I reviewed Christian's Metaphorical Self-Portrait. It was thought-provoking, very well done.
ReplyDeleteYour use of the human bodies, both the naked-ones in the fore ground as well as the un-skinned ones background was very interesting. It spoke loudly to the changes that art can have on the human race. Nicely done.
ReplyDelete