Through
portraiture, drawing and digital media, this project investigates self and
medicalised-imaging. By disrupting tropes of Renaissance portraiture and
associated conventions, my project will use classic poses from self-portraits, appropriating
the works of Albrecht Durer. I will rupture them through collage, medical
imaging, photography and hand and digital drawing. Each self-portrait will be a
layered work displayed on top of a light box. By doing this in layers, it
brings our attention to the invisible illness made visible as a parallel to the
x-ray and ultrasounds.
In
my previous project I created a large-scale hand drawn self-portrait that
merged ultrasound images with a digital collage of myself. I will be continuing
with self-portraits but in a different way. I will be borrowing some ideas from
history, particularly from the Renaissance; poses, ideals, soft colour palette
etc.
Albrecht Durer’s self-portraits have been the biggest
influence on my work. I studied Renaissance art last semester and became
fascinated with Durer’s portraits. I have chosen to appropriate poses from his
famous self-portraits. These portraits are from various stages of his life and
they uphold the classical ideals of portraiture from the Renaissance. By
mimicking these poses I seek to follow in his footsteps.
Through
reading the book The Self-Portrait, A
Cultural History; I have begun to understand the history of portraiture and
why self-portraits are so fascinating to me. I
am drawn to the medium of self-portraiture as a direct enquiry and reflection
into identity. From James Hall; “Durer used self-portraiture to
immortalize himself as the northern ‘artist-as-beauty’” (Pg. 81). The
Renaissance portraits are heroic portraits, they represent the classical ideals
of nobility and beauty. I aspire to present myself in a similar way.
However,
the re-invention of the
image is a means to find new pathways to discuss the
effects of medicalisation, hoping to enable a
dialogue which re-inserts the self back into the world, in a constructed and playful
manner. I aim to present myself as a survivor,
of someone worthy of being in a portrait.
In
each of these portraits Durer is dressed opulently with his hair a prominent
feature. Careful planning went into each aspect of the portrait. I have attempted
something similar, through my costuming. The green outfit represents a medical
gown, similar to the ones worn into surgery, while the other poses are my usual
clothing but presented in a classical way.
Other
artistic influences include, Raphael
who created some interesting portraits of women. They follow similar
portraiture conventions to Durer and have beautiful colour palettes. These
portraits were of particular women who could afford to have their portrait
painted. They were also carefully constructed and filled with symbolism.
Theodore Gericault’s “Portraits of the Insane” series is fascinating.
Usually classical portraits are commissioned by high ranking nobles and the
rich as they can be quite expensive. Here, Gericault has flipped the genre of
portraiture and included mentally unstable people, people that usually cannot
afford to have their portrait painted, people that are outcasts in society.
In
today’s society, there are still stigmas surrounding mental illness and chronic
illness. As visual beings, we question that if we cannot see it, then does it
really exist? In considering my personal illnesses as invisible, the internal
experience is hidden but the external physical experience is what everyone
sees.
This
project explores my everyday lived experience, investigating the effects of
medicalisation upon the human body and identity. The interference from
surgeries, medical examinations, and medical imaging. This is still traveling
on the ideas that Petherbridge talks about.
The action of drawing and trace as mark, interrogating notions of
visibility questioning whether there is any trace of the original left
behind.
In
my experiments, so far, I have created reference photographs and started
drawing these poses in a similar style to Durer.
Going
forward, methods I will use include; digital manipulation, printed collage, drawing
in layers using different classic materials (including charcoal, ink,
watercolour), and drawing upon them digitally.
I
will then present them in a small series upon lightboxes. These lightboxes
mimic the same set up when viewing x-rays. The white light behind the image
makes viewing layers possible, the same as x-rays and medical imaging enables
us to see what is inside our bodies.
Through
the collision of this with old classical portraits, I am referencing the
clinical aspect of medical imaging and the beginnings of my own personal
experience of medicalisation as a young woman.
Looking
to contemporary artists, Godwin Bradbeer
and Gillian Lambert are strong
influences.
Lambert creates grotesque portraits of disembodied
heads. The disembodied head is something that continues to pop up in
portraiture and self-portraiture. The importance of our identity is placed upon
our head. Here, Lambert uses similar materials to me and only focuses on the
head.
Bradbeer creates gorgeous large-scale portraits and full
body works in pastel. His figures are isolated and still as he explores the
imperfections of the human figure. The composition of each work is similar to
those seen in classical portraiture, his portraits feature the ¾ view and the
disembodied head. Bradbeer investigates “the body as a manifestation of the
human condition.”
In
talking about his own work: “My existential
conception separates the flawed struggle of rendered figuration from the
impossibly perfected surfaces of commercial digital culture and in doing so
seeks to find a testament to the enigmatic nature of our flawed human beauty.
As a figurative artist who developed in my art with a constant endeavor after
visual acuity, it is deeply ironic that in the twenty first century it should
be the flaw, the error, the struggle for verisimilitude that identifies such
drawings as works of experience”.
I
am interested in potentially merging android or cyborg motifs together with
these self-portraits. This stems from my interest in animes/films such as Ghost in the Shell and Ex Machina. An
investigation into the search to continually make ourselves better, altering
the physical body to achieve certain goals parallels the impact surgeries have upon
our health when we are unwell. I find it interesting that Bradbeer’s diptych
uses a similar pose to the one in Ghost in the Shell.
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