Personally, I have always hated group projects. You have to get together with a bunch of different […]
At first and quite possibly the second and third glance, nothing extraordinary catches your eye. The all too familiar color, subject matter and title cause you to wonder what exactly is it that makes the painting so valuable. But in 2014, it sold for $36 million. At only 12 by 18 inches, the piece does not grab attention because of its size. But painter and print maker Jasper Johns offers up a slice of history in his art. Born in 1930, the 85 year old artist enjoys intertwining Abstract Expressionism with the beauty of concrete subjects. Admitting he wanted to be an artist at a young age, Johns told PBS, “I think I thought it meant that I would be in a situation different from the one that I was in.” Perhaps, that’s what makes Johns’ artwork so appealing, his ability to illustrate so many different situations in such a simplistic, minimalist way.
Besides the bright orange, yellow, red and blue color palette, the first thing one notices in a Jasper Johns painting is the familiarity of the subject. Whether flags, targets, numbers, letters or maps, everyday items are almost always portrayed. They are comfortable and mysterious at the same time. “Map,” an oil on canvas depiction of the United States of America, draws viewers in deeper into the Johns reimagined depths. The map is both old and new at the same time, mimicking the feeling of a renovated home, vaguely familiar yet “new.” State names, stenciled onto the painted canvas are like cosmetic upgrades resulting in a kind of new value for the piece.
Whether intentional or not, Johns’ paintings seem to flow together, intangible ideals bound together by tangible creations. Guided by the “Map,” viewers often come across “Target with Four Faces,” another famous painting by the legendary artist. Like “Map,” this painting blends commonplace items with unexpected elements of surprise. Viewers, comforted by the fact that the bull’s eye, the goal, is within reach, are left wondering about the role of the blind faces. Regardless of the reason for the eyeless faces, the painting is a tangible illustration of people aiming for a target, whether their goal be mental, spiritual, physical, emotional or simply for sport. “False Start,” a colorful arrangement of colliding colors and words, reminds viewers that life is comprised of both the expected as well as the unexpected.
“My experience of life is that it’s very fragmented; certain kinds of things happen, and in another place, a different kind of thing occurs. I would like my work to have some kind of vivid indication of those differences.” Johns’ statement with PBS is exactly what happens in “False Start.” In some parts of the art, colors clash with other colors. In other parts, the word “yellow” is painted in blue on top of a red patch of paint. The mind, left to play puzzling games, undergoes false starts, constantly renegotiating and re-imagining that which seems normal. In the end however, the viewer’s mind, like life, grows stronger as it recognizes new patterns within familiar color schemes and words. In fact, that seems to be Jasper Johns’ message as an artist: pop culture reappropriated for social and personal growth. That is, in Johns’ world, simple flags, are reimagined as badges of personal patriotism, shooting targets become mirrors of life goals and mismatched colors depict the evolution of individual people.
Born in Augusta, Georgia, Jasper Johns grew up extremely aware of difference whether it was race, class or gender. Those lessons have helped shape him into an amazing artist that uses and reimagines familiar things in unfamiliar ways. In fact, Johns readily admits that good artists must be willing to give up everything, especially the desire to be traditional. He has done that, leaving the University of South Carolina after studying for only a few months. Moving to New York, he embraced the different pace of life, craving even more the freedom of artistry. For him, his work is about “relations between seeing and knowing, seeing and saying and seeing and believing.” But these relations can only be accurately understood through new eyes, reimagining everyday items and everyday circumstances in new ways and that is worth far more than $36 million.
“I am the me I choose to be,” Sidney Poitier proclaimed in his autobiography The Measure of a Man. As an Academy-award winning actor, director, diplomat, and author, Poitier has certainly lived up to that creed. In a time when blacks were treated as second-class citizens, Poitier revolutionized the film industry by becoming one of Hollywood’s most iconic actors. With his intrepid acting and versatility, Mr. Poitier has established himself as a cinematic pioneer and a true Renaissance man.
Although Poitier was born in America, he was raised in the Bahamas by his parents who were native Bahamians. He grew up on Cat Island and later Nassau until his teen years. When he was fifteen, Poitier’s father sent him to Miami, Florida to live with his brother. Coming from a majorly black nation, Poitier had never encountered racial discrimination. In Miami, he came face to face with prejudice, but never let it faze him. In an interview with Oprah Winfrey, Poitier described his transition from the Bahamas to America.
“Never in my early years was I told, ‘Be careful how you walk down the street.’ I never had to be conscious of stepping off the sidewalk to let someone pass. So I’ve got to tell you, I had no idea what was waiting for me in Florida […]The law said, ‘You cannot work here, live here, go to school here, shop here.’ And I said, ‘Why can’t I?’ And everything around me said, ‘Because of who you are.’ And I thought, I’m a 15-year-old kid—and who I am is really terrific!”
His optimism kept him afloat, but Poitier still endured adversity. At age seventeen, he moved to New York City for job opportunities. Initially, he only found menial jobs and ended up working as a dishwasher. Acting wasn’t even a consideration until one day he came across an ad in the newspaper. The young Bahamian wanted to find a second job so he went to the American Negro Theater in Harlem.
Despite being renowned for his stage presence and eloquence later in his career, Poitier only read at an elementary school level when he first arrived in America. Furthermore, his Bahamian accent made the delivery of his lines difficult to understand. When he did an impromptu audition for a role, he was immediately rejected. Nevertheless, Poitier was resilient and offered to be the janitor for the theater in exchange for acting lessons. He worked tirelessly to improve his literacy and acting skills. In spite of his initial struggles, Poitier’s tenacity paid off.
Eventually, he would become the understudy for actor and singer Harry Belafonte. Poitier got his first big break when he filled in for Belafonte in the stage play, Days of Our Youth. Since Belafonte was unavailable due to a prior engagement, Poitier was afforded the chance to perform. His performance was well-received and led to his next role in a Broadway production of the Greek comedy, Lysistrata.
After getting rave reviews in Broadway, Poitier took his skills to the silver screen. He landed his first movie role in 1950 when he appeared in No Way Out. This was a breakout role for Poitier as he played a physician treating a white, bigoted patient. At that time, Hollywood had an inglorious track record regarding the portrayal of blacks in film. Dignified roles for black actors were few and far between. Instead, they were often relegated to servile or buffoonish roles that propagated negative stereotypes of blacks. Fortunately for Poitier, he landed a respectable role and took advantage of the opportunity.
Poitier’s performance in No Way Out propelled his film career and led to other successful roles. Later in that decade, he appeared in Blackboard Jungle and The Defiant Ones. In The Defiant Ones, Poitier co-starred with Tony Curtis and was nominated for an Academy Award and a Golden Globe Award. Poitier made cinematic history when he won the Academy Award for Best Actor in 1964 for his role in the film, Lilies of the Field. This marked the first time that a black actor received this honor and solidified Poitier’s career. While his accomplishment did not drastically alter the landscape of Hollywood, it showed that black actors could perform admirably without compromising their pride. He had become a role model for the black community and a beacon for equality.
Following his success at the Oscars, Poitier continued to set precedents. In 1965, he starred alongside Elizabeth Hartman in A Patch of Blue. The film was groundbreaking at the time for depicting the first interracial kiss between a black man and a white woman. This scene signified love transcending race and social constraints. It’s also notable for preceding the first televised interracial kiss in America which occurred on Star Trek in 1968. Unfortunately, this scene was removed when shown in several Southern states due to the prevalence of miscegenation laws and racist attitudes. It’s almost inconceivable that a simple kiss between two actors was deemed controversial. In spite of America’s shortcomings, Poitier’s star power flouted bigotry and bolstered social progress.
In 1967, Poitier became the No. 1 box-office actor by starring in the films, To Sir, with Love, In the Heat of the Night, and Guess Who’s Coming to Dinner. All three films focused on race relations while highlighting the need for racial equality in America. That same year, Dr. Martin Luther King Jr. commended Poitier for his contributions by stating, “He is a man of great depth, a man of great social concern, a man who is dedicated to human rights and freedom. Here is a man who, in the words we so often hear now, is a soul brother.” Poitier’s roles constantly challenged the status quo. As a lauded actor, he gave inspiration to blacks by dispelling racist dogma. He also provided white audiences with insight into the black struggle in America.
In the Heat of the Night won the Academy Award for Best Picture and provided Poitier with an empowering role. During filming, Poitier was so concerned about racist backlash that he reportedly kept a gun under his pillow. Poitier took a stand regarding a scene where he is slapped by a Southern cotton plantation owner. Originally, the script called for Poitier to be slapped and not retaliate. However, Poitier would not accept the part unless that scene was rewritten. He insisted that he should slap the man back with equal force. The mere act of a black man hitting a white man on film was audacious and jarring to the mass public. Poitier, however, defied convention because he felt that it emboldened his character. His role as an educated, assertive detective deconstructed the notion of racial subservience. As he explained to broadcast journalist Lesley Stahl in an interview for CBS News, “I said, ‘If he slaps me, I’m going to slap him back. You will put on paper that the studio agrees that the film will be shown nowhere in the world, with me standing there taking the slap from the man.’ ”
Another of Poitier’s films, Guess Who’s Coming to Dinner focused on the issue of interracial marriage. When I first watched the film for an African American film course, I couldn’t wrap my head around the fact that this issue was once deemed controversial. It’s still hard to fathom that American society was so suppressive during those times. This film demonstrated that the term “interracial” is a misnomer. Despite differences in skin color or ethnicity, people are all part of one human race. While the portrayal of Poitier and actress Kate Houghton as a couple was a bit restrained, it was definitely a step forward for race relations. The mere depiction of a black man and a white woman entering a marriage was revolutionary. At the very least, it countered societal norms and projected an image of racial harmony. For its time, the movie was remarkably progressive. However, it could have had a greater impact by offering a more in-depth examination of interracial relationships.
Nonetheless, Poitier was a prominent advocate for social change. Following a string of successful roles, he added the position of director to his repertoire. His directorial debut was Buck and the Preacher, and he also starred in the film with Harry Belafonte. He also directed A Piece of the Action, Uptown Saturday Night, Let’s Do It Again, and Stir Crazy, which starred Richard Pryor and Gene Wilder. Stir Crazy was a huge success and earned Poitier the distinction of being the first black director to direct a motion picture that grossed over $100 million.
Later in life, Poitier extended his influence beyond cinema. He served as Bahamian ambassador to Japan from 1997 to 2007 and concurrently served as an ambassador to UNESCO, a specialized agency of the United Nations, from 2002 to 2007. Poitier is very proud of his Bahamian ancestry, and he wanted to support his homeland through diplomacy. During his ambassadorial ceremony in Tokyo he explained, “I was raised in the Bahamas. My roots are there. I am as familiar with that society and its people as I am with America and there is in the present government a need for me to be of some service.”
Poitier has also received acclaim in the literary field. He’s authored three autobiographical works: This Life, The Measure of A Man: A Spiritual Biography, which was on the New York Times Bestseller List, and Life Beyond Measure – letters to my Great-Granddaughter. In 2013, he wrote Montaro Caine, his first novel.
He achieved yet another milestone in 2009 when President Barack Obama presented him with the Presidential Medal of Honor, the highest honor for a civilian. Poitier was honored alongside fifteen other recipients for their outstanding contributions to society. “What unites them is a belief … that our lives are what we make of them, that no barriers of race, gender or physical infirmity can restrain the human spirit, and that the truest test of a person’s life is what we do for one another,” President Obama explained.
Throughout his career, Poitier broke down barriers and bridged the gap between black and white audiences. His on-screen presence and contributions opened new avenues for aspiring black actors. Poitier even advised Denzel Washington about a crucial decision early in his acting career. Washington was offered a lucrative role that would have required him to portray the rapist of a white woman. He sought Poitier’s counsel and received some words of wisdom. Poitier told Washington, “I’m not going to tell you what to do. But I will tell you this, the first, two, three or four films you do in this business will dictate how you are perceived.” True to his character, Poitier prioritized integrity. He wanted Washington as a young, black actor to give serious consideration to the roles he selected. Although the role was fictitious, it would have tainted his on-screen persona and restricted his opportunities. Subsequently, Washington turned down the role and went on to have a prestigious career of his own.
It’s paramount for people today to recognize the importance of Sidney Poitier. Historically in America, blacks have been mocked, vilified, and discriminated against because of their skin color. Poitier was able to supplant negative depictions of blacks with dignity and class. He symbolizes progress not just for blacks, but the nation as a whole. As such, black actors and entertainers should be cognizant of their influence as public figures. Poitier set the stage so it’s up to his successors to perform.
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As if Janet Jackson’s resume wasn’t impressive enough with her list of achievements including: singer, songwriter, actress, icon, Oscar and Golden Globe nominee, and winner of 5 Grammy’s and the NAACP Best Supporting Actor Award, recently she added record label head to the list. Jackson decided that she was going to launch her own record label, making her arguably the first African-American female to establish one, and she decided that her label was going to do things a little differently.
For her label, Rhythm Nation Records, Jackson pursued a “label-services” deal with music publishing and recording rights management BMG. Some of their services cover the entire range of rights administration and development. It is their goal to place the needs and well-being of the songwriters and artists at the center of their concerns.
BMG was honored to partner with Jackson. In a press release announcing the partnership, BMG CEO Hartwig Masuch commented, “Janet is not just a supreme artist, she is a unique cultural force whose work resonates around the world. It is an honor that she has chosen BMG to release her long-awaited new album. We look forward to collaborating with her across every platform.”
The partnership between BMG and Rhythm Nation Records allows for artists to retain ownership, costs, and revenues of their new recordings. This arrangement puts the artists in control and gives them a lot more creative freedom than other agreements. Other artists that have been working with BMG recently include: alt-J, The Smashing Pumpkins, Anastacia, Backstreet Boys, Nena, Bryan Ferry, You Me At Six, and The Charlatans.
Rhythm Nation Records is looking to work with both new and already established musicians, but no names have been released yet. In the press release, posted on her website, Jackson expressed her thanks and excitement to work with BMG. Jackson said, “Thank you to the talented team at BMG, my new artistic home. The opportunity to be creative in music and every form of entertainment has great potential here.”
Jackson herself has been catching fire with all the rumors surrounding her new album and tour. It has been confirmed that Jackson will be releasing her long awaited album under Rhythm Nation Records and BMG Rights Management. She has also announced the first set of dates for the North American leg of her Unbreakable World Tour. Also, though currently unconfirmed, it is rumored that Unbreakable is the title of her long awaited album.
Janet Jackson definitely has the right idea with her new record label. I really respect her decision to partner with BMG because it really puts artists in control and allows them many creative freedoms while protecting their ownership rights. Jackson also practices what she preaches by releasing her new album through her own label. I can’t wait to hear her new stuff after 7 years of anticipation. With her new album, upcoming tour (that is making a stop in Atlanta on September 26th), and Rhythm Nation Records it would seem that Jackson is shaking up the music world again and changing things for the better.
~ Shannan Rivera
Fashion can be an extension of who you are as a person. Beyond the trends and styles, you’ll find that clothes symbolize your identity, personal values, culture, and even national heritage. Fashion designer Pola Thomson, for example, emblazons her creations with virtuosity and enlightenment. Ever since she was a child growing up in Santiago, Chile, Thomson’s had a creative urge. At twelve years old, she requested a sewing machine and discovered her muse in fashion design. Now as an award-winning designer, she is sharing her talents with the world via refined wardrobe designs and jewelry.
Thomson is very knowledgeable about her craft with impressive credentials. She graduated from the Pontificia Universidad Católica de Chile with a B.A. in Design. She also received private lessons in couture training at Chilean couturier Laura Rivas Vial’s atelier and studied fashion design abroad at Central Saint Martins College of Design in London and Parsons The New School of Design in New York City.
Before moving to New York and launching her fashion and accessories line POLA THOMSON in 2010, she had already established herself as an acclaimed designer in Chile. She was awarded a Gama Cut Award for “Best Fashion Stylist” in 2008 which began her venture into the international fashion scene. Since then, she’s had her collections displayed in Canada, Panama, France, and the United States. Additionally, she went on to accrue several other honors internationally. In 2010, she won “Best Collection” from international publications Harper’s Bazaar México and Marie Claire Latin America and the “Femme” category during the 2011 “Who’s Next & Première Classe” trade show in Paris.
For Thomson, designing clothes transcends aestheticism. Her philosophy about fashion design is particularly astute. As she told the fashion publication ONE Magazine, “Clothes are just not clothes, they are [a] physical amalgam of perspectives about gender, culture, art, life and spiritual experiences.” That’s a fascinating perspective because it demonstrates that fashion can be a reflection of societal and individual values on a grand scale.
According to designer platform Not Just A Label, Thomson infuses her designs with Chilean sensibilities and sophistication that culminates in a “quiet and subtle yet bold and charming overall look which also fits a wide range of body types by building up a size-less pattern block silhouette.” Since she creates clothing and jewelry for women, Thomson wants to offer a feminine profundity in her designs. As a fashionista, she wants to empower women by creating illustrious clothing representative of diverse styles and physiques.
“POLA THOMSON women are free and dynamic, fearless, finding a place to inhabit within their very own selves through what they wear,” Thomson explained to Not Just A Label. “Regardless of the context or place, even time, they create their very own space.” Women gravitate to her brand because they embrace its sense of sovereign elegance. The POLA THOMSON line intertwines femininity and liberation for the modern woman.
Thomson’s 2013 collection, Collection #8 AW ’13, showcases her resourceful flair and eclecticism. This collection draws inspiration from large landscapes and in particular signifies the Chilean Patagonia Paine Peaks. The line incorporates a varied color palette with turquoise and sunset orange complemented by neutral colors such as pure white, night blue, coal black, and shell ivory. An array of tunics, high-necked blouses, and dresses exemplify sleek ensembles.
In a 2013 review, design and culture magazine Trendland praised Thomson’s collection for its natural motif and use of organic materials. “The collection takes as reference the magic moment, when while in the presence of the immensity of nature one realizes we are and have been part of this majesty, this brilliance all the while […]This line features a minimalistic contour and a techno space inspiration combined with natural organic materials such as authentic Chilean driftwood bound by cotton rope set over a clear and black acrylic, all of them finish with traditional jewelry settings.” With this collection, Thomson displays her national pride as well as reverence for nature. It’s an ingenious decision to incorporate a literal piece of her home country in these designs. She has also used volcanic rock from Patagonia to craft some of her jewelry which adds a unique effervescence to her pieces.
With an already impressive list of accomplishments, Pola Thomson isn’t simply resting on her laurels. She’s continually elevating her brand and staying in the public eye. In 2014 she launched her autumn/winter and spring/summer collections and earlier this year she released her 2015 spring/summer collection which, according to We Are Selectors magazine, is “inspired by modern life, urban landscapes and the futurism as an artistic and social movement to create contemporary pieces redefining the feminine wardrobe codes.” Last month, Thomson returned to her hometown of Santiago, Chile and served as an exhibitor for the fashion magazine Ropero Paula. At this rate, she could potentially revolutionize the women’s fashion scene. It will be intriguing to see what more she’ll accomplish as her brand grows globally.
Sometimes art just grabs you. Though you may be drawn to a particular technique or medium, there’s that occasional piece that jumps out at you. You don’t always know what it is, but you’re hooked. Jantina Peperkamp is an artist that creates those type of pieces.
Peperkamp is a Dutch artist who is becoming known for her photorealism paintings. Her subjects come to life on the canvas. By staring into the eyes of one of these subjects, you might forget that you are looking at a painting in the first place and not staring into the soul of another human being.
Though the final project is striking, the artistry comes out in Peperkamp’s process. She chooses a model, but not just any person. Peperkamp must be able to relate to the model. Her creative process begins by taking a photo of the model, then she creates a sketch of that image. She also chooses acrylics on wooden panels to create the final version.
Her process is very methodical and almost scientific. However, seeing the end result, that absolute final piece of work, is almost like a sacred experience. In a portrait called “Balloon,” the subject is staring at the viewer intently through blue/green eyes. She’s blowing up a robin’s egg blue balloon with inflated cheeks covered in asymmetrical freckles. Her hands are holding the opening of the balloon very tentatively, and the wrinkles and creases on her palms and fingers are worn from the precise movements that caused them.
It’s the small details that make Peperkamp’s work so dynamic. The freckles and wrinkles are so meticulously placed on the subject that it begins to look real. The look in the girl’s eyes comes piercing through the canvas. It’s not just the subject matter that comes across as being so vivid. Even finer details like shading show how Peperkamp’s technique adds to the overall effect of the artwork.
In another piece called “Ropes,” the subject is, again, staring down the viewer. Only this time, there are ropes painted across her face with one hand pulled up, two fingers gently resting against the piece of the rope as if she’s about to pull. She looks very similar to the girl in “Balloon,” but perhaps several years older. This is actually a self portrait of the artist. There’s an intensity and urgency in her slightly wrinkled eyes. Just next to the hand holding the rope, there’s shadowing under her eye and over her cheeks. This adds a little depth and darkness to the image, leaving you to believe that there might be something else going on here.
The “meaning” of her work is something that Peperkamp leaves up to her audience. She realizes that people have their own interpretations of art. She also wants to leave everything as is and let her audience have a go at what they believe is going on behind those captivating eyes. “My paintings are interpreted in many ways. I think this is very special and I do not feel the desire to interfere in this meaning. A painting can mean eternal sorrow to one person, while [another] viewer finds hope in the same painting. Both opinions are legitimate; of course, these are the feelings of the spectator,” the artist explained on her website. Not only is the interaction with the audience a key role, there’s also an importance placed on the relationship between the artist and her model. Whatever potential occurs between Peperkamp and her model, that is what will come across in the final piece.
“The final result is established by the energy that arises between the artist and her model, as the artist functions as observer and as identifier,” Juxtapoz Magazine writes about Peperkamp’s work.
From the energy between Peperkamp and her models, to the dialogue between the art and the audience, this artist has given her viewers an interactive experience. With no right or wrong answer, whatever you are currently feeling can be the meaning behind the artwork. The audience is engaged, and more artists can become inspired because of this dynamic.
Photos are a great way to retain most of our past memories, but to use them as a reference for painting is quite unique. Sure, painters use people and other objects to create their work, but using pictures is something that is unheard of. By using photographs and frozen film, an artist can take a portion of someone else’s work and then produce an entirely different piece with an entirely different purpose. Paintings that bring about an emotional response through the various techniques used are works that were created by an extremely talented individual. Kai Samuels-Davis, an American-based oil painter, is the extremely talented individual who makes these authentic and distorted paintings, with amazing details, that represents a universal language that we can all relate to.
Samuels-Davis is originally from New York, but he has since moved to Los Angeles to indulge in his film studies. At the Art Center College of Design, he earned a graduate degree in fine art and video. This may explain why he usually incorporates some sort of film element into the majority of his oil paintings. Studying film and its properties has given the painter several tools that has helped him create an emotional bond between the paintings and his audience. The inspirations that the artist gains from the cinematic world are put into his paintings and give the audience a sense of desire and motivation. Whether the painting is showing the viewers a life-like individual or wilted flowers, the artist somehow makes the beautiful paintings look so effortless.
Samuels-Davis pushes the boundaries of the art by creating realistic-looking images. His effortless paintings are the reason that so many people are drawn to his work. When glancing at the canvas, it looks as if someone just used a paintbrush to gently stroke the surface. The brushstrokes are shown with extreme detail, which gives the painting a natural look. The brushstrokes, while crucial to his work, are not the only apparent factor for him when creating his art. Shading is something that is of extreme importance to painters, but Samuels-Davis takes it a step further. While the majority of painters use lines and borders to create objects and shapes, Samuels-Davis uses darker and lighter shading. The shades and brushstrokes of his work create more emotion that erupts from the painting and give us something to ponder.
Samuels-Davis’ oil paintings are an art that appeals to viewers by showing us a stop motion film depiction. Through images of fashion photography and episodes of silent films, the artist is able to show his viewers a combination of film and painting. He refers photographs of lifeless objects, as well as people, so that he has an idea of what he wants his finished product to resemble. With this, he can create an unfamiliar, yet exciting experience for his viewers. We, in turn, are drawn to the emotions that pour from these pictures and we are itching to know about the events surrounding the painting. By bringing together several arts and techniques, the painter is giving us something that is new to our taste buds, and I for one, really enjoy it.
Over the past year, the artist has been making his subjects with contorted faces. The Forgotten II, a oil painting he created last year, shows us a bearded man with blue eyes and he seems to be staring intently at something. The painting has a lot of layers of different shades and colors, which has brought me to think that this painting may be more than just a picture of a thinking man. In its previous installment, The Forgotten I, the same elements that were placed in the sequel were also placed in its original. In the first one, we are painted the picture of a woman, similar to the man, who is troubled by something, hence the way her eyes are drawn. These two images express rather a dark mood.
The Forgotten I and The Forgotten II are the artist’s latest paintings. It’s a mystery to why he would contort the images in any way, but I feel that they are pieces that are meant to give to us something different than his hyper realistic paintings. While these paintings are amazingly detailed, my personal preference has to be his authentic-looking paintings. In The Other Field I, we are shown a person laying down in an area that has nothing present, at least from the audience’s perspective. It’s a simple painting, but the viewer is curious as to what is in this world, and why is this single person laying down. It intrigues us to the point where we want to know more about everything that’s going on here.
Typically, when people think of models they envision the gold standard of beauty—they have an unblemished, picturesque look. […]