In this work I am really trying to define figures as my trajectory testing various potential mediums and tangents of social media. I feel that I have essentially found a trajectory that I am so deeply intimate with conceptually and technically that it will continue to excite and sustain my interest. I feel I have so much to say with the enormity of the concept in itself which raises questions to wether I need to define more specifically what I am interested in exploring or whether I explore all these various tangents of social media. Ideas and implications of social media which could endure further exploration and potential development in my work is the concepts such as identity, the world of difference, communication, isolation, representation, documentation, and defying the concept of ‘truth’. All these ideas are valuable explorations and each are constantly injecting and connecting to one another. But being so extensively broad that they each have possibilities in their own right
As well as the ability to extensively explore these tangents of social media, as an artist I need to be fulfilled with challenges of various technical and material approaches to the development of my knowledge and execution of works.
In the work before I have continued through the exploration of charcoal on canvas to confide with the search of something ‘new’ or inciting reiterating the cycle of social media which is always in search of something superior or more inciting. Although charcoal is in no means a constitute of a modern symbolic material rather it is a historical form of material, but in the context of social constructs we are always circulating a cycle of history with a contemporary attitude much the way I have endowed in my work featured below. The use of charcoal also convenes emotions that are static with those expressed in the raw emotion of the work. With the raw emotions creating a defiant sensibility to pain, anguish, disparity all which are redefined with charcoals grey colour sensibility of suppression and a lack of confidence which is illustrated through the isolation being in presence of only ones own clone.
The work below becomes essentially the photograph in its own right rather than the artwork. The exploration of destructing conventional states of photographing and documenting art work into a more contemporary provocative social documentation of ones self publicising the ideas of the work through seductive body language, through Instagram. This superimposes the notion of how one documents and represents themselves through a interfacing device and the isolation between the interface and reality.
The second work, is the work representing itself, with a more significant intensity drawn to the raw emotion captured in the expression of the charcoal tonal values. Which in contrast to the first work of the photograph looses this material information through photographic manipulation conveying with the true mortality of the photograph. The charcoal encounter is much more dense and flat as a posed to the manipulated photograph of the first work. It also creates a deeper sense of connection and sensibility of to the viewer who can feel the emotions in flesh rather than trying to decipher through yet another interface or morphing layer.
The desire to develop this work further I want to interfere with this work with acute gestural definition to assertively accentuate the raw emotions of the tangibility and impermanence of the body but also the inwardly comments upon the fragility of ones self.
The work below becomes essentially the photograph in its own right rather than the artwork. The exploration of destructing conventional states of photographing and documenting art work into a more contemporary provocative social documentation of ones self publicising the ideas of the work through seductive body language, through Instagram. This superimposes the notion of how one documents and represents themselves through a interfacing device and the isolation between the interface and reality.
The second work, is the work representing itself, with a more significant intensity drawn to the raw emotion captured in the expression of the charcoal tonal values. Which in contrast to the first work of the photograph looses this material information through photographic manipulation conveying with the true mortality of the photograph. The charcoal encounter is much more dense and flat as a posed to the manipulated photograph of the first work. It also creates a deeper sense of connection and sensibility of to the viewer who can feel the emotions in flesh rather than trying to decipher through yet another interface or morphing layer.
The desire to develop this work further I want to interfere with this work with acute gestural definition to assertively accentuate the raw emotions of the tangibility and impermanence of the body but also the inwardly comments upon the fragility of ones self.
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