Thursday, September 22, 2016

Emma Foss Project 1

       When prompted to create a self portrait, I began to think about the essence of portraiture and what it historically has meant. Portraiture, at the beginning of time was to document a person as realistically as possible in order to have a historical account of their existence. As art began to fluctuate, artists, when drawing the self, began to add other elements into their work which implied something more than their external appearance. They utilized their personal style and the emotive qualities that can be created through the handling of materials to make a commentary on themselves. As I thought of all of the aesthetically pleasing portraits and nudes I have seen in my life, I began to realize like most things in life that they may not portray the whole truth of how the artist sees themselves or how others see the artist.

       I began to think of how I see myself versus how other see me and realized these things were vastly different. But both views are equally valid. As I wear large quantities of makeup every day and try to take care of my appearance, most people generally tell me that I am an attractive individual with admirable traits. Whether or not this is what they truly think is a matter of its own and something I may never know but I’d like to think this may be true. Not paying attention and being too self-absorbed makes people less keen in noticing flaws. However, when I think of myself, all I can see is my acne. It’s all I can think about, it’s all I assume others see about me, it blurs all of my realities and toys with my emotions and self-perceptions. I’ve had chronic cystic acne for about eight years now and has become more of my identity than anything else. I never let anyone, even my close friends, see me without makeup so it is not a part of my identify that most people associate with. But to me, it is me, it is everything and it is what defines me. However, the way I look all day and my “natural self” are both equally valid portrayals of who I am and I think it is so interesting that we put such an emphasis on being “yourself” and “natural” when my identity of makeup is just as much me as my bare face. Makeup is a ritual for me and just as much a part of my life as my acne. I don’t want to deny what I truly look like but I also do not want to devalue the person I have created externally as not a valid form of myself.


       I chose to do a painting of myself with three heads because I was trying to discuss the idea of the internal self, how others see you, and the blind inability to see both. These three fighting components influence each other and are ultimately what becomes who you are. I was also beginning to think about famous females who exist in groups of three and complement each other. The Goddess Shiva, for example, has three heads and is a very significant figure within Hinduism. I have been dying to try some work with wax, so I did some experimenting with this piece and candle wax. I attained several shades of bodily colors and experimented by dripping them onto the paper to represent acne and infection. I loved how they stand off the paper because to me it represents the projection and externalization of our largest insecurities. The actual weight of the wax weighs the paper down, much like an insecurity does to any given person. I did the nude in watercolor because I felt it mimicked the translucency of the wax and still looks pristine in contrast to the wax’s lumpy nature. In the background, I did subtle washes of purple and blue to reference the haze of self-perception, as well as defining the figure in the middle. I chose to pose my body in a fashion that seemed to expose a lot of skin because I wanted to show as much damage as possible. I also wanted it to be a pose that showed motion and gave off a tumultuous essence, in the act of balancing. With all of these thoughts in mind, my piece definitely did not turn out how I anticipated. I would love to expand these ideas in the future and get to know the medium of wax better.


Float


            For all of my life I have felt a very strong connection with water. With this piece, I wanted to explore my relationship with this element, specifically focusing on my memories about it and feelings toward it. I also wanted to do a piece that focuses on my recent personal growth from past experiences and fears.

I have always been interested in astrology and all the elements of having a cancer zodiac sign, which is also a water sign. I have always identified heavily with all of the attributes of the cancer sign, especially its position as a water symbol. Water signs, like cancer, are very in tune with emotions and imagination and I feel this is true for me.
I have also always enjoyed learning about the creatures of the sea and loved the idea of mermaids since I was a little girl. I like how mermaids are depicted in art and have drawn several myself before. I wanted to draw myself in the style that I often draw other.




I was inspired by the art of one my favorite painters, Charmaine Olivia. She paints women in a way that exudes power and confidence. I also love her use of color and how she infuses a sense of mysticism and spirituality into her pieces. With the posing of my body and the way I painted the water I tried to infuse elements from Charmaine Olivia’s work.
                                    
            I wanted to showcase the transformative nature of water and rebirth connotations it has, but also show its power and strength. While I love the water, I also realize that it is a force that commands respect. My sophomore year of high school I lost my dad when he passed way from drowning while snorkeling. Since then, I have been extremely afraid of the power of the ocean.  My biggest fear is now drowning and my relationship to water has changed drastically. I still have a connection to water, but it is just a different connection now.


            While my style was influenced by Charmaine Olivia’s work, my subject matter was influenced by Frida Kahlo. Although my piece looks nothing like a Frida Kahlo piece, I took my narrative elements from her work. I love so many of Frida’s pieces because many of the stories they tell. I like that many of her pieces talk about her accident and subsequent health problems without being overly obvious about it. Even though you might not be able to tell from looking at my piece, it has a narrative element about my father’s death. By coming out of the water in the piece, I am trying to showcase my own transformation and growth. This symbolizes me stepping forward from my father’s passing and the issues I had with him and moving forward and embracing my fears.

 


Censored / Julia Lambright

For my piece, I chose to focus on the restrictions I feel both physically and mentally regarding my body and mind. Being a young woman, American society has placed rules and regulations on how one should think, act, and present themselves. You are expected to be gentle but not a pushover; assertive but not too aggressive. If you wear too much makeup you are a try hard, but if you don't wear enough you are lazy. If you wear revealing clothing you are a slut, but if you cover up too much your'e a prude.

In society there is no way to be what we consider the "perfect woman"; and really why would you want to? Perfection doesn't exist, its something we strive for but are doomed never to attain. And it isn't just the men in society that force us to try and fit into this mold; women are just as large a part of the problem. We see another woman who is successful or beautiful or smart and we automatically try to tear her down because we view her as a threat.

This piece plays off of this idea of my own discomfort with my body based on what I've been told is acceptable and what is inappropriate. When told about the project, my immediate thought was "of course I won't draw myself in the nude". I automatically ruled out the possibility simply because I assumed it would be embarrassing and not well received by my peers, not to mention I knew I myself would be ashamed to show my body to others. I decided instead to cover the areas of myself that are deemed sexual and inappropriate with the acceptable parts of male figures: their hands and arms. This is intended to symbolize the male dominance in society and the fact that it is men who tell us what is acceptable to do with our bodies.

The artist that influenced this work primarily is Spencer Tunick. He is an American photographer who was popular in the 1990's for his work organizing large scale nude shoots. He started documenting live nudes in public locations in New York through video and photographs, and his early work focuses more on a single nude individual or small groups of people. His work took a turn in 1994 when he posed and photographed 28 nude people in front of the United Nations building in Midtown Manhattan.

I was interested in his work because it really focused on the nude body not necessarily as a sexual object but rather as an outlet to challenge the idea of privacy and comfort. By grouping such large groups of individuals in their most natural state, he worked to undermine the inherent sexuality of the naked body and instead presented it as a natural state of being.




"Daughter of a Dragon" (Self as Subject)

For my self as subject assignment, I explored my surfaced emotions on the space that me and my body take up, specifically in regards to the scar from the small pox vaccine I received after I was born in Taiwan. This scar rests on my left upper arm and is usually covered by my shirt sleeves. But this summer, I spent a lot of my time wearing sleeveless shirts, which reminded me of this scar.

As a Taiwanese-American identifying person, I struggle between feeling at home in the United States or in Taiwan. As an immigrant from Taiwan, I am constantly reminded of my "alien" life in the States. This scar is proof that I was not born in the United States.

I was intrigued to find a pose that allowed me to showcase the scar. In the beginning, I had a vision of a pose that was more reserved and almost shamed about the scare. But as I was trying out poses that I wanted to draw, I realized that I did not want to seem "shy". I was proud of my scar and I was grateful to have gotten it. Thus, I began to try poses that seemed more empowering and courageous.

I chose this particular pose because to me it represented someone who is already moving forward in her life and takes a moment to just pause to acknowledge the person behind them - almost in a "so what?" way. And that is how I feel about my scar. I am living my life the way I want and I don't care about what other people think about my scar and will justify my Taiwanese American identity forever. The dragon surrounding me represents the image of my soul and the space that I want to take up. I want to be more vocal and stand up for myself and by channeling the inner dragon in me, I hope that I can.

Some sources of inspiration for my piece was Frida Kahlo, James Jean, Deng Wei Wei, and photographs of Anna May Wong .

Roots, 1943 by Friday Kahlo
Frida Kahlo's piece, Roots (1943), spoke to me in the way that she painted herself surrounded and connected to her surroundings. The vines are coming from her body and wrapping around her, with her blood flowing though the leaves. I enjoyed this aspect of connectedness. By wrapping the dragon around my self, I wanted to relate the dragon to me, similar to how Frida connects herself to the tree of life.







These images of Anna May Wong from Llyod Corrigan's film, Daughter of the Dragon (1931), was a huge source of inspiration for me. The images of Anna May with the dragon either projected or on her clothing was so intriguing and invoked a sense of empowerment to me. Dragons are seen to be a very powerful and mystical beasts. I wanted to channel these imagery in my self portrait because I relate to these images.


These pieces are from James Jean, a Taiwanese-American artist. His pieces are so magical. I loved his use of simple color schemes. In the piece on the right, the subject is not colored in while the background is filled with deep blues and bright oranges. This juxtaposition allows for the piece to pop out. I want to allude to his juxtaposing styles with my self portrait and dragon, by having the dragon be more 2D like to show that this dragon is not of this world, but more of a spirit. James Jean us of color reminded me of the traditional style Chinese paintings like below. 



These pieces are from Deng Wei Wei. I took inspiration from his dragon pieces to learn from. These dragon piece reflect more traditional styles of Chinese art, which I wanted to allude to in my dragon piece. There are big difference in western dragons and eastern dragons and I used Deng Wei Wei's pieces as references. 

My piece explores my feelings about the space that I take up and the space that I want to take up. It's also an exploration of my Taiwanese-American identity in how I am both yet each individually all at once. 

References:
Anna May Wong (1, 2)