This piece was the heart of my show last spring. It was the last piece that I began working on and the first one that came to life. Although loosely created as a self-portrait, it embodies the spirit of the impact I wish to leave and the person I am creating.
“Now that he was safe from the world outside he was being attacked from within his own head.” – Cal by Bernard Maclaverty, p.106.
The art process is very vulnerable and uncertain. Much of the time that I spend working alone is filled with doubts and negativity from my mind. Art involves so much self criticism that one become less bothered by others expectations. One of the things my professor tells students is to not forget what you do well. As a group, we spend more time attempting to perfect that which is already perfect. Let your mind rest and enjoy your days.
Graphite, vine charcoal, and oil pastel on light green conte paper.
Although everyone experiences rock bottom emotionally at some point, I think it’s important to remember three time frames. The past is that which remains unchanged. Remaining in it’s suffocating embrace, weakens the spirit and mind. The present is that which remains in process, creating the future that is always ready for you to take charge. Sometimes we have to move away from our pasts, in hopes that our futures will seem like dreams.
This is a self-portrait painted in oil. My initial intentions were to show eczema in a beauty light; however, this portrait’s focus shifted to that full body appreciation. Towards the end, I spent more time looking at the big picture, rather than the small stuff that gets in the way. My hope for those reading this is that they remember to not get caught up in the small stuff and focus more on the big stuff.
“Art enables us to find ourselves and lose ourselves at the same time.”
― Thomas Merton, No Man Is an Island
This is a charcoal piece from my first year in undergrad. We were asked to complete a self portrait using our own personal items. This piece speaks to the fact that many of us are comprised of multiple layers, making us unique, dynamic and quite confusing sometimes. I find that there is beauty in mystery and complexity, but I also understand that it’s okay to let down some walls. Remaining guarded is no way to live life fully. I wish to die with memories, not hopes, dreams, and aspirations.
I feel in love with the original painting because of its detail and how Roslin approched the fabric. Although, I think the painting is somewhat successful, I do feel that I could have taken more time to give care to those same areas. Still, I enjoy “The Lady with the Veil (His Wife),” especially the eyes.
This portrait study took a great amount of focus. It was difficult at first (trying to understand the angles and structure of the body, before manipulating the surface to look like the subject’s skin), but I learned a lot through every brush stroke. It exercised my ability to paint what was in front of me, rather than what my eye thought it saw.