For my
final project titled Rumination of Woman,
I explored numerous representations of self in reflection creating
psychological portraits of the female form
in power struggles. The title Rumination of Woman explains
the compulsive focus on symptoms of distress or possible causes and consequences
of said symptoms as opposed to their possible solutions demonstrated through
the use of mirrors and the act of looking at oneself. Intrigued by the exploration of disturbances found in
environments, where the viewer subtly realizes something isn’t quite right;
what happens within a piece when all points of reflection of true reality are
displayed? Where the viewer is faced with female forms examining each other and
in turn, is also confronted with examining oneself in the mirror as well. This
introspective notes on the use of a portal surface; reflection as a tool is
rationalized perfectly by the French writer and film director Chris Maker, ‘the
structure of seeing and not seeing lies in the kernel idea of a memory, of what
we remember and what we forget, demonstrating how remembering and forgetting
are not oppositional acts buts two sides of the same coin,’ (Marker 4). This
juxtaposition delves deeper into the exploration and genuine curiosity about
looking and of the self.
I originally became intrigued with
the idea of using glass as my medium when I visited Nick Mauss’ exhibit at 303
Gallery in New York. Although Mauss work deals more with understanding how
forms and materials gain shape and attach/detach from numerous systems of
images, materials, objects and subjects; his representation of the human figure
and use of energetic line work on mirrors, as well as how the viewer approached
each work and wandered around the gallery space inspired me immediately. In my
previous projects and in my junior show, I dealt more with the examination and
display of the self and the female figure, for this project I wanted to explore
myself in reflection and deal more with the abstract sense of rumination and
humiliation. I started by placing two mirrors angled together side by side
creating a mise-en abyme effect, photographing myself in a various poses of
simply staring at and turning away from confronting my own face pressed up
against the mirrors. Capturing the presence of the artist delivered through the
mirror, I turned these photographs into simple gestural drawings inspired by
the line work of both Henri Mattise and David Hockney. I translated these
drawings onto glass layering various mediums of pebeo vitrail, cel-vinyl and airbrush
fluid creating memory within the painting and alluding to the psychological
portraits. After painting, I sprayed that same side of the surface with
mirroring spray paint to turn the clear glass into a reflective mirror. On exhibit
in the Guggenheim gallery the works hang together in a fashioned line,
displaying the paintings embedded into the seamless mirrors.
Nick Mauss:
Henri Matisse:
David Hockney:
My Photos:
Derek
Overfield, another inspiring artist in this series, deals primarily with the male
figure exploring the portrayal of power and romanticism. I was drawn to his
work through his skilled use of layering various potency of color. His mixture
of figure gestures and color illustrate depth, movement, and character in the
simplest and most provocative way.
Derek Overfield:
With this
year coming to a close, I am fortunate to have been able to have grown as much
I did this semester. Art has always been such a love and passion for me, this
class has really pushed me to create my own artistic practice and really
formulate my ideas and statements I want to share with the world through my
art. I can honestly saw I gave this class 100%, keeping my journals and notes
with my all the time, jotting down notes and ideas here and there. I am so
grateful I got to learn the importance of this as it has helped me tremendously
in my work. I think I rightfully deserve any sort of A in this class.
Bibliography:
La Jetèe. Christ Marker. Afterall
Books, Central Saint Martins. London. 2009.
Print.
Mediators of the Gender Difference in Rumination. Susan Nolen-Hoeksema and
Benita Jackson. Blackwell Publishers. Yale. USA. 2001. Print.
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