Distorted Self-Other Portrait
I found a 2000 New York Times article by Miles Unger called “Art/Architecture; Finding Art in Random Images is as old as Art itself.” He discusses the use of indeterminate forms as an aesthetic and reviews its use by Leonardo DaVinci and landscape artist, Alexander Cozens. (http://query.nytimes.com/gst/fullpage.html?res=9F00E7D71F3EF934A1575BC0A9669C8B63&sec=&spon=&pagewanted=all). Like Leonardo, I found that the indeterminate and random images produced by blotting enhanced my imagination. There were moments in my work where I thought that I created poetically beautiful or enchanting images because I played on the random effects of the way that the watercolor dripped, ran, position itself and dried on the paper. Distorted self-other portrait is a perfect example of how I used such effects. For example, I decided to place the features of the portraits in areas that would maximize the sense of physical distortion, especially lip distortion. Yet, the inherent qualities of the Rorschach blot make these distortions attractive. This allowed me to turn features that have often been devalued in African American culture, thick lips, into beautiful images.
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