La Tela de Mi
Size: 91.4 X 60.9 cm panels
Medium: multi-medium collage
Date of Completion: April, 2018
Medium: multi-medium collage
Date of Completion: April, 2018
La Tela de Mi is a triptych heavily inspired by Coles Phillips' fade-away girls and Kehinde Wiley's use of pattern. Throughout these panels pattern is used as means to illustrate my relationship with myself, my environment, and my hopes on impacting my environment. La Tela de Mi is my attempt to capture how enveloped and interwoven I am to my surroundings, circumstances and how hey have shaped me and will continue to impact me.
Inspiration
C. Coles PhillipsClarence Coles Phillips was a late 1920's illustrator credited with brining in the Art Deco movement into advertising. His strong sense of composition, space, and color are most beautifully exhibited in his "Fadeaway girls".
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Kehinde WileyKehinde Wiley is an African American NewYork based portraiture artist. His work revolves around creating a space for minorities in grand Western artwork.
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In attempting to capture how I blend into my environment I was deeply inspired by Coles Phillips. Specifically in his fadeaway girls I saw the potential narrative that could be implied if I chose the right thing to fadeaway into. When attempting to define who I am as a person and how I fit into society Wiley's work came to mind. It was through his use elaborate decretive patterns that I was able to relate my place and feelings in society. Looking at Wiley's collection Iconic helped me define and interpret my identity as it relates to the society around me while Phillips' work helped me drive that point across in a more profound manner.
Planning
In these sketches I was merely outlining several ideas had for the pieces. Most of these sketches were only referenced for feeling and not directly carried out to final stages.
Once again in this work I am not very much trying to create an exact outline for the finished product but establishing loose rules and aspects I might want. In this sketch I have established my desire to steer clear of face-on perspectives. Not only did I believe this would just become too repetitive in my piece but take away from the overall message. In this sketch at least when interpreted through my eyes, I wanted to showcase dismissal.
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Process
I began these paintings like any other paintings. First I primed the canvases I would be using. The canvases used were ones which I had previously painted on but did not like the end result. In order to cover the color that was previously on the canvas, I applied several thin layers of gesso until I felt that the colors beneath were covered enough for new colors to cover in thin layers. After the gesso had dried on the canvas I moved on to drawing myself.
I drew myself 3 times on 2 canvases. In order to draw myself, I kept several reference photographs of what I looked like from various angles close to me. Unlike with my self-portrait here, I had no direct reference for poses. Along with this, I decided to draw these outlines freehand instead of utilizing the grid method. I was unsure about implementing the grid method as I was essentially looking at various photographs of myself for reference and taking the head, hand, or body from one and placing it on another. The grid method works best for me when I have one sole subject that needs to be copied onto another surface and not various parts of various pictures. Along with this reason, the only other justification for using the grid method in my work was to check the proportions in my work. Proportions are something that I have always had trouble with, this can be seen in my self-portrait and once again in this piece as the result of my decision to draw freehand.
Attempting to somewhat emulate Wiley's work I kept in mind how high contrast his highlights were and how rich and deep he makes all his colors. Beginning the paintings with a base layer of around my skin tone I gradually began to depth through layering darker versions or white for highlights. Upon further examination of Wiley' s work and comparison of his work to the subjects which he paints I noticed his work exaggerates the vibrancy of their complexion to further contrast the at times pure white highlights. These paintings were all about perfecting the gradation and blending. Wiley's manipulation of paint, creating smooth blending when desired and texture elsewhere is what not only captures the essence of his subject but creates an almost photographic end product. When attempting to do the same in my work through layers I noticed how horrible I was at it. After doing my best to exaggerate highlights without washing myself out I moved on to assembling the college.
Once the oil paints had completely dried I was able to cut my paintings from the canvas. To do so I simply grabbed a knife and roughly cut the canvas from its frame. Once the canvas was free from its frame I was able to take some very sharp scissors and closely cut around my outline. In order to cute cut tight corners, I used an exacto knife.
Now that the paintings were ready to be pasted I needed to prepare the wood they would go on. I knew I somewhat wanted to emulate the shape of the frame that Wiley’s “ The Archangel Gabriel” was in so I simplified the design and drew it out on 3 small pieces of plywood. I had my dad cut the plywood along the guidelines I had drawn. Once these pieces were cut I could begin assembling the collage.
To assemble the collage I began by taking the fabric and laying it out flat. With the fabric flat on a surface, I measured out how much of it I would need for each panel. After I cut the fabric to the measurements I used fabric glue to coat the bare panels. I then carefully laid the fabric over the panel and smoothed out all the wrinkles. Once the fabric was laid out right on the front of the panel I tucked the extra fabric back and applied several layers of glue to securely attach it to the panel. When the glue was dry It was time to glue the actual painting down. To glue the paintings down I followed the same routine as when I originally glued down the fabric to the barren wood panel. The final step in creating the triptych was adding trim. To add both the gold trim that I thought would call back to Wiley’s work and the white lace to emulate the simply visible collars in Phillips’ work I used a hot glue gun. Carefully outlining the outer border of the work and then quickly applying the fabric I finished off the piece.
I drew myself 3 times on 2 canvases. In order to draw myself, I kept several reference photographs of what I looked like from various angles close to me. Unlike with my self-portrait here, I had no direct reference for poses. Along with this, I decided to draw these outlines freehand instead of utilizing the grid method. I was unsure about implementing the grid method as I was essentially looking at various photographs of myself for reference and taking the head, hand, or body from one and placing it on another. The grid method works best for me when I have one sole subject that needs to be copied onto another surface and not various parts of various pictures. Along with this reason, the only other justification for using the grid method in my work was to check the proportions in my work. Proportions are something that I have always had trouble with, this can be seen in my self-portrait and once again in this piece as the result of my decision to draw freehand.
Attempting to somewhat emulate Wiley's work I kept in mind how high contrast his highlights were and how rich and deep he makes all his colors. Beginning the paintings with a base layer of around my skin tone I gradually began to depth through layering darker versions or white for highlights. Upon further examination of Wiley' s work and comparison of his work to the subjects which he paints I noticed his work exaggerates the vibrancy of their complexion to further contrast the at times pure white highlights. These paintings were all about perfecting the gradation and blending. Wiley's manipulation of paint, creating smooth blending when desired and texture elsewhere is what not only captures the essence of his subject but creates an almost photographic end product. When attempting to do the same in my work through layers I noticed how horrible I was at it. After doing my best to exaggerate highlights without washing myself out I moved on to assembling the college.
Once the oil paints had completely dried I was able to cut my paintings from the canvas. To do so I simply grabbed a knife and roughly cut the canvas from its frame. Once the canvas was free from its frame I was able to take some very sharp scissors and closely cut around my outline. In order to cute cut tight corners, I used an exacto knife.
Now that the paintings were ready to be pasted I needed to prepare the wood they would go on. I knew I somewhat wanted to emulate the shape of the frame that Wiley’s “ The Archangel Gabriel” was in so I simplified the design and drew it out on 3 small pieces of plywood. I had my dad cut the plywood along the guidelines I had drawn. Once these pieces were cut I could begin assembling the collage.
To assemble the collage I began by taking the fabric and laying it out flat. With the fabric flat on a surface, I measured out how much of it I would need for each panel. After I cut the fabric to the measurements I used fabric glue to coat the bare panels. I then carefully laid the fabric over the panel and smoothed out all the wrinkles. Once the fabric was laid out right on the front of the panel I tucked the extra fabric back and applied several layers of glue to securely attach it to the panel. When the glue was dry It was time to glue the actual painting down. To glue the paintings down I followed the same routine as when I originally glued down the fabric to the barren wood panel. The final step in creating the triptych was adding trim. To add both the gold trim that I thought would call back to Wiley’s work and the white lace to emulate the simply visible collars in Phillips’ work I used a hot glue gun. Carefully outlining the outer border of the work and then quickly applying the fabric I finished off the piece.
Experimentation
The experimentation for this piece occurred in every step I took after I had finished painting the portraits. Choosing not only the right fabric to represent my theme was a challenge but then manipulating it was even harder. Originally I wanted to incorporate my culture through at least one panel. I was unable to incorporate the fabrics from my culture because all of the ones available to me were very intricate in nature and any wrong cut would not only damage the piece being retrieved for the work but potentially ruin the remaining fabric. Using store bought fabric that somewhat resembled my original fabric I was able to experiment as much as I wanted. With this piece I collaged textiles and paintings for the first time. In this piece got to work with a material which at first was frightening to me and learned to manipulate. Though admittedly the use of fabric in my work is sloppy and amateur it was a great starting point and way simpler to re-create Wiley's imposing backgrounds.
Reflection
Overall I discontent with the outcome of this piece. There are several aspects of the piece which I do find interesting and appealing but there are also various aspects which I cannot come to peace with. The overall process and nature of this piece feels rushed, for this reason I belief my inspiration might be clear but my own intentions are not. Looking at this piece, I am confused and lost in my own message. In addition to this I do believe there is a clear distinction between which panels got done first. There is an in-cohesiveness to the overall piece through both desired implementation of style and message.
ACT Questions
1) Clearly explain how you are able to identify the cause-effect relationships between your inspiration and its effect upon your work?
The cause of my inspiration was my examination of Kehinde Wiley's work. Looking at Wiley's work and how he implements textiles and patterns in his work to rob the subject of setting as opposed to Coles Phillips who lets his background simultaneously serve as the foreground and in turn help further elaborate a narrative caused me to want to employ the use of pattern like Wiley but for it so serve a purpose and help narrate like Phillips.
2) What is the overall approach(point of view) the author (from your research) has regarding the topic of your inspiration?
The research I read was very focused on the overall message of the piece and the creators perspective on said pieces rather than the aspects I was interest in.
3) What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
From my research I was able to generalize the significance of nonverbal communication. Though Wiley only uses pattern and textiles for their decorative patterns for some cultures and people these patterns tell stories and history.
4) What was the central idea or theme around your inspirational research?
The central idea for my research was understanding the ways in which I could convert aspects that I had not created or conceptualized to be my own.
The fabric and, the styles of the paintings are not mine but through my work I wanted to make them serve my purpose and message.
5) What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
While conducting research I came to the conclusion that although some aspects of society and art are seen as purely decorative they take root in serving a purpose for the people they originated from.
The cause of my inspiration was my examination of Kehinde Wiley's work. Looking at Wiley's work and how he implements textiles and patterns in his work to rob the subject of setting as opposed to Coles Phillips who lets his background simultaneously serve as the foreground and in turn help further elaborate a narrative caused me to want to employ the use of pattern like Wiley but for it so serve a purpose and help narrate like Phillips.
2) What is the overall approach(point of view) the author (from your research) has regarding the topic of your inspiration?
The research I read was very focused on the overall message of the piece and the creators perspective on said pieces rather than the aspects I was interest in.
3) What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
From my research I was able to generalize the significance of nonverbal communication. Though Wiley only uses pattern and textiles for their decorative patterns for some cultures and people these patterns tell stories and history.
4) What was the central idea or theme around your inspirational research?
The central idea for my research was understanding the ways in which I could convert aspects that I had not created or conceptualized to be my own.
The fabric and, the styles of the paintings are not mine but through my work I wanted to make them serve my purpose and message.
5) What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
While conducting research I came to the conclusion that although some aspects of society and art are seen as purely decorative they take root in serving a purpose for the people they originated from.
citations
“COLES PHILLIPS.” National Museum of American Illustration, americanillustration.org/project/coles-phillips/.
Wiley, Kehinde. “The Archangel Gabriel.” Kehinde Wiley, 2014, kehindewiley.com/works/iconic/.
Wiley, Kehinde. “The Archangel Gabriel.” Kehinde Wiley, 2014, kehindewiley.com/works/iconic/.