“a painter with nothing left upstairs” (!)
Presenting the second example of the drawing-from-photographic sources project.
Already, the time involved in such - at least employing a technique faithfully transcribing the appearance of the source - has resulted in the intention to produce a sketch-a-day taken from daily print media origins being refined to what will hopefully be a more manageable weekly production of same from a consequently wider array of available image stock.
Again, no agenda was in operation in the choice of image other than its ‘inspiring’ appearance & suitability for the project.
Accompanying an article in last Monday’s Guardian’s G2 section on contemporary society’s eating habits, it is nonetheless a most intriguing image, depicting a 1960s archetypal family sitting down together to enjoy what is claimed to be a home-prepared meal & having all the appearance in fact of a prime slice of 60s photorealistic painting.
I love the sheer artificiality of the composition & situation, the scene being so obviously posed in best advertising fashion, the frozen smiles, the ‘perfect’, desirable, spotless modern kitchen in which the ‘family’ sit, etc, & also the appearance of the image itself, so redolent of 1960s proto-colour photographic reproductions, the ‘washed-out’, pastelly colour, the sense of the image almost being hand-tinted. Therefore, all things considered, it seemed a classic image to transcribe.
Again, I was struck by the abstract, detached nature of the drawing process, of mark-making on a very specific local level, concentrating upon the rendering of subtle tonal alterations across the surface of the source material to cumulative effect that almost accidentally resolves itself into a representational image, very much as an afterthought.
graphite/30x21cm
08-13/01/08
Also returning to the last of the autumn's quinces, recently revealed to the world after the japonica had shed its leaves & thus requisitioned for modelling purposes.
graphite/30x21cm
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