CONTEXTUAL STUDIES 3.

Two Artists that adress the theme of identity.

Identity has always been a widely used concept and basis for works of art. In a way, any work of art can be addressed as relating to the topic of ‘identity’ as that work is the identity of the artist. This essay will explore the works of Lui Ferreyra and Pablo Picasso, comparing and contrasting both their movements, styles and how the theme of identity is apparent in much of their work.

Lui Ferreyra’s range of work looks at both portraiture and landscapes in a very structural way. The piece I have shown is entitled ‘Vision.’ It is painted in oils, at the scale of 48” x 60” and is my favourite work of his. The young man is gazing into the distance almost in a dream-like state and it has quite a photographic element to it. From afar it looks as though it is indeed a photograph, but as one looks closer the small detail of each hand painted block is evident. This use of blocking out shapes to create a person’s identity is something that I find very fascinating. The styling of this piece really plays with the viewers mind and engages their own ‘vision’ in unique ways. The appearance of the man changes and is effected by both the distance you view this piece and through squinting too. When squinting, the viewer sees a much more soft, rounded and life-like face compared to the sharp blocks that fit together, making up the portrait when viewed in full eyesight and light.

Ferreyra describes his signature style as ‘fragmentism’ I think that this is true as much of his work surrounds the concept of broken up, shattered shapes, almost like glass. His own representation of people and their identity is created through the angular blocking of his portraits, in a way he is passing on his own perception of others. Everyone is unique and the ‘structure’ of their face determines their identity and individuality as a human being.

The piece of Picasso’s that I am looking at is entitled ‘Weeping Woman.’ Painted over 70 years before Ferreyra, whose work was completed in 2007, both works still involve a strong use of angular shapes to portray their subjects. The brush strokes of Picasso and Ferreyra, to me, represent their own identity as artists and are something that belong solely to them. The way in which an artist can apply paint on to any surface in a unique way creates and gives them independence and identity later developing in to their own signature style.

In this case both artists, although portraying similar sharp angles and blocks of colour use their media in very different ways. Picasso’s marks are a lot less smooth, re-enforcing the sense of grief and sorrow. On the other hand, Ferreyras lines and colour quality are almost faultless. It is hard to believe that ‘Vision’ is indeed hand-painted in oils; the accuracy and sharpness makes it appear at first glance to be a type of print. Both pieces I think have equal impact, but for different reasons. Picasso’s focuses much more on engaging with the viewer’s emotion through his extraordinary representation of this woman’s grief in his painting; 1. ‘This is a study of how much pain can be communicated by a human face.’ Ferreyra’s piece on the other hand has a sense of mystery and contemplation about it. The face and emotion of the man in the portrait give off a neither happy nor sad feeling. Both portraits relate to the theme of identity in a way that the type of emotion is identified through the use of line and colour against the expression of the person within it.

The clashing choice of colours in ‘Weeping Woman’ emphasizes the sharpness and enveloping emotion of the painting. Unlike a smooth combination of tones and blending colours that some painters strive for, Picasso’s style is to block out shapes and line with solid shades, which in turn affects the way in which we view such a piece; 2. ‘The woman appears almost literally ‘broken up’ with grief.’ The positioning of the handkerchief in front of the woman’s face suggests a slight nervous disposition and is almost a way of concealing her own identity.

Overall, both paintings leave a very impacting impression on the viewer, addressing the theme of identity in different ways. The subject matter in this case is portraiture for both pieces, yet the way in which their features and facial structure are represented are very contrasting.


1. http://www.guardian.co.uk/culture/2000/may/13/art
2. http://www.tate.org.uk/servlet/ViewWork?cgroupid=-1&workid=11871&searchid=16919&roomid=false&tabview=text&texttype=9




NAME: GALI LUCAS
TUTOR: HAYLEY LOCK
CONTEXTUAL STUDIES 3

CONTEXTUAL STUDIES 2.

Conceptualising your own work.


I have chosen to look at and compare the work of Martin Maloney to one of my recent portrait pieces.

The distinctive style of Martin Maloney’s colour scheme, his composition techniques and the emotion that comes across in his work is very engaging. This particular piece entitled ‘Boy with Pink Hair’ is my favourite of his most recent work. With a mix of oil on canvas and paper collage Maloney uses blocks of colour to depict his subject’s features. When using the oil paint he has applied it in a very structural way. Instead of following the natural curves of the human face, Maloney has dabbed the paintbrush and blocked out solid colour forms.

I feel that there are many things that link my piece with Maloney’s. Firstly, the colour scheme in both mine and his centres around an auburn red shade. Red is a colour renowned for gaining a response and drawing attention, so by incorporating it within a piece of art, I think it draws the viewer in. I have tried to block in colour with similar brush strokes to Maloney, using lines of colour to represent depth and shape. I decided not to use a white shade for the background, but instead to continue with the colour scheme and blend red in with a bit of yellow and black.

Most of my work has involved people in one way or another, and I think that it is incredible how different Artists depict people’s portraits. The choice of media and style one uses together with the expression/mood that the sitter gives off dictates the individualism of a piece. For this portrait of my Mother I chose to use acrylic paint on paper that I then ripped before mounting – a technique similar to Maloney who uses collage within much of his work. Both pieces portray strong emotions; I get a sense of anxiety and confusion from the ‘Boy with Pink Hair’ and mine, however a rawer emotion of anger also seems to seep out from mine.

Overall, I think that in this experimentation with colour, paint and technique I have produced a striking portrait that conveys emotion. Studying Maloney definitely inspired me in this process and I would like to continue with these new skills and experiment further in this medium.


WORD COUNT: 388
NAME: GALI LUCAS
TUTOR: HAYLEY LOCK
CONTEXTUAL STUDIES 2

CONTEXTUAL STUDIES.

Visual Analysis; Boccioni Vs Giacometti.


Boccioni’s piece, entitled ‘Unique Forms of Continuity in Space’ was created back in 1913, 37 years before ‘La Foret’ by Giacometti. Boccioni’s sculpture appears to represent the form of a man’s body in an abstracted way. The extra curves and added shaping suggest a muscular figure, with a sense of power and authority, emphasized then further through the bronze coating. The sculpture is very interesting to study and makes a bold statement. The stride of the figure gives a real sense of movement and strength. Each leg is positioned on top of its own individual podium, instead of the conventional use of a singular plinth, like stepping stones, which gives this piece a powerful sense of motion. The two winding shapes making up the legs combine flowing movement with solid muscular structure.


By comparison, La Foret consists of 7 tall, slim, vertical figures rather than 1 main, large figure. Giacometti has sculpted the people entirely differently to Boccioni, presenting them in such a way as to eliminate and disguise their identity. The figures are nothing more than elongated statues, facing forwards with faint representations of chests, shoulders and heads. Towards the back right hand side of the plinth behind the figures, the torso and head of a man emerges out of the floor as if the remaining part of his body is buried below. As with Boccioni’s sculpture, Giacometti has also used some form of bronze coating, however the way it has been applied is completely different with a rough, un-even surface further setting it apart from the other sculpture. The single plinth with its change in colour, its slight dip in the centre and textural surface seems integral to the piece rather than just as a support.


‘Unique Forms of Continuity in Space’ was originally cast in plaster, which is on display at the Musea de Arte Contemporanea, Sao Paulo, and not until after Boccioni’s death was it re-cast in bronze, for exhibiting at the Museum of Modern Art, Metropolitan Museum of Art, and the Tate Modern. The sculpting of this piece removes the arms and head, pinning the rest of the figure to the ground with blocks, yet seemingly the figure looks as if it is flying. It has clear flowing lines like fabric in fluid motion, emphasizing the concept of powerful movement.


Giacometti’s sculpture stands 23 inches high and was also created from plaster. The plaster has been applied in a much less controlled manner. The artist is using what may appear as imperfections on the surface of plaster to convey emotion and give the piece an un-easy, sad feeling. The group of figures, to me, seems to represent a forest like state, as if they are growing out of the ground beneath. Their legs are very rigid and closed; the plinth beneath them bending/dipping under the weight.


Overall, each piece of figurative sculpture represents something clear, whether that be in one case power, motion and strength and the other vulnerability and sorrow and both have an amazing initial impact on the viewer at a glance.


WORD COUNT: 514
NAME: GALI LUCAS
TUTOR: HAYLEY LOCK
CONTEXTUAL STUDIES

FILM THREE.

FILM TWO.

These three photographs seen above, are shots taken from my second film focussing on portraiture within the theme 'Everyday.'

I have worked on experimenting with both composition and light and shooting from angles above, below and face-on. I was very much inspired by London based photographer, Phil Sharp when doing this shoot. I love his style and think that his use of black and white photography really stands out.

The man in the photograph is one of my dad's old friends. I approached him to photograph because I think that he has a very unique and striking face, which comes across very strongly in the shots. By involving a prop such as a cigarette, I think it engages the viewer more, giving them more of an insight in to the models character and life. It also allowed me to experiment with different shutter speeds, capturing the smoke in a variety of ways.

FILM ONE.

This is my first attempt at taking some portrait shots for my ‘Everyday’ project. I have begun working in black and white as previously mentioned, keeping it simple, yet effective.
The first two images shown are of the model in front of a weatherboard barn. I love how the grain of wood and how it’s layered up comes across in the photos. Walker Evans, a famous American photographer made famous for his documentary style shots of The Great Depression period photographed a young woman in a similar way, using a weatherboarded background to surround and fill the frame of his famous shot.