As a hyperrealist painter, I have a strong sense of moral obligation to hold true to hand-painted works of art within the genre. I had originally been introduced to hyperrealism through the history of photorealism, as most artists have, which consisted of works that were painted by hand to replicate the illusion of a photograph. The works were created using familiar techniques such as a system of grids or projecting the image to trace the drawing and/or shapes of color and value to aid in the reproduction.
I use a system of grids without any drawing beyond major anatomical shapes (the sillhouette of the figure, where a shirt begins/ends, the shape of the eye, etc.) however the majority of the drawing aspect of the work is confronted during the painting stage. I address the shapes, colors, forms, and their relationship to one another as well as their alignment within the grid and meticulously recreate them with a greater sense of color, form and contrast. I take pride in my work, but perhaps I take it further than I should.
For the longest time I had an issue with artists who projected the photograph onto the canvas, because I boiled it down to tracing -- what I knew from childhood as "cheating". I have come to the realization that it is merely another tool to aid the artist, and is no less praiseworthy or difficult than the techniques I use.
The issue that I have finally understood to a degree has been an internal battle I've had for years, which bred a lot of animosity and disrespect for a major influential and respected artist; Gottfried Helnwein. I absolutely love his imagery, his message, and his ability to speak to a great audience. From a buisness aspect, I have a great deal of respect because he has taken full advantage of many wise avenues for improving his success as an artist. The main issue I had with him, however, was his technique. It took me a long time to figure out how he did his work, because he keeps it fairly secretive (as compared to many other hyperrealists, who take no discression in displaying their process). I had a hunch that something was different, because there was no possible way that a single human being could produce the quantity of work per year at the monumental scale that he does. Once I discovered that he uses a photo-painting process, which consists of ink-jet prints of his original photographs onto canvas, which he then paints acrylic and/or oils on top of, I nearly despised him. I regret those feelings of animosity, as I do have a great respect for him as an artist. I have also finally come to a greater personal quandry that deserves some serious attention;
What is the most important element of an artist's work? The medium used, the process to create it, or the purpose and imagery of the work? Generally, and quite obviously, the purpose and imagery is the most important aspect. So, then, why is the process such an issue for me to handle? I think it may be a personal issue of pride and proving my self-worth as an artist; To be able to say, "look what I painted by hand" and have it just as important, provokative, and purposeful. Yet this vain obsession has posed some greater career issues, such as the fact that this last painting took me 6 months to create, and I worked full-time on it and created almost nothing else. But I feel at this point in my life that the most important element of my work is the response to the viewer - the evokative imagery and message that I am trying to communicate.
I've also had issues with hyperrealist painters who also do photography as a separate medium. I always thought, "why do both? You should only do one or the other". I still feel that way to a degree, because it does confuse your audience. But, then again, this is something Helnwein does as well. Except, of course, his imagery and subject are much more powerful and intellectual.
So where do I go from this point on? I am not sure that I am comfortable with jumping straight into the photo-painting method, because I would feel like I am slacking off, yet I feel that there may be some beneficial aspects of that method that I can use to my advantage. If I could have finished this painting, as well as the previous 4-month long painting, in only one month, I would have 13 eight-and-a-half by five-and-a-half foot paintings by now. Quite a large amount of work, and very advantageous to an emerging artist's career.
Perhaps after this painting is completed, I should take some time to focus purely on my artistic voice through photographs, since they would be the initial element of my hyperrealistic paintings anyways. Through that journey I may come to some terms and realizations about where my personal methods and values lie in the creation of a unique and original work of art.
I no longer have any negative feelings or disrespect for Gottfried Helnwein. His work "Epiphany II: The Adoration of the Magi" is still one of my absolute favorite and most inspirational works of art. Open-mindedness within the art-world is absolutely essential, and I'm slightly disappointed in myself for having had such a closed mind to this specific genre of work. Besides, it's what is being said that is most important, not the process.
No comments:
Post a Comment