fur elise (2010)

fur elise (2010)
Originally uploaded by kelise72

I’ve had this painting in mind for a couple of years – I’ve got a book of vintage nude photography (from 1880’s and forward), and the photo this painting is from is one by Brassai, 1932. Of course the actual photo is black and white, so I had to take artistic liberties and paint her in colour.

I rather liked the expression on the model’s face – sort of like Mona Lisa, enigmatic, is she smiling or is she sad. In the photo, the model looks a bit “hard”, maybe jaded, but somehow, in my painting she’s ended up looking confident maybe even happy, not at all ashamed of her situation. Maybe she’s even proud to have such control over men, and over her own body (as I kind of assumed by the photo, she’s a hooker or even some kind of 1930’s “porn star”). Her stance seems to scream out, yeah, I can do whatever I please and who are you to tell ME what to do with my own body?

Although the model is not me, I feel she still aptly represents me in the sense she conveys my own personal attitude, one of self-confidence in any situation - even one where I might be vulnerable and seemingly constrained by a “mask” (e.g., the “mask” of someone else’s expectations, or the “mask” that society/culture expects you to be a certain way); In fact, I’m quite OK in a situation where somebody might ask me to be something other than I’m not – I still find a way to express the real me even if some of who I am is disguised in order to “fit in”.

You may notice that she’s standing in front of a mirror, so that a slight reflection of her back is apparent. This is representative of the idea that sometimes (for me) I’m only outwardly exhibiting the APPEARANCE of confidence – sometimes ACTING confidently is easier than actually FEELING it. So overall, the viewer can’t be sure if the model is ACTING or FEELING.

I am quite pleased with the resulting painting – I feel there’s a lot of depth to it, even though it’s quite simply done. I tried to be as “accurate” again with the tones of the model but purposely chose a garish yellow wallpaper (she is a hooker, after all, so I thought it was fitting to have wildly yellow wallpaper that’s so bright so as to not encourage hangers-on, I guess. A mirror, too, is essential decor!)

The composition (bend of her arm and bend of her torso etc) really leads your eye around the painting I find, and I’m hoping that the reflected image in the mirror is not immediately apparent. Sometimes I do that with my paintings, I don’t “give it away all at once”, leaving something for the viewer to find later.

precious (2010)

precious (2010)
Originally uploaded by kelise72

16x20 inches, acrylic on canvas

I started this painting with the idea about expressing the bottles not just as an arrangement of coloured glass but rather an arrangement of precious objects, and then when I turned the spotlight on the arrangement the play of light shining through and on the bottles instantly made me think of coloured jewels: sapphire, black pearl, aquamarine, topaz and emerald.

What I’m really trying to do here is say something about how precious these bottles can be; the blue one on the left most precious of all, particularly valuable as it once held water. I actually liberated (stole?) it from a restaurant many years ago. If it was worth “stealing” then it must be worth something. (I thought it was unusual and pretty and worth taking it off the table without permission as a perfect addition to my collection of other unusual bottles).

As for the other objects, well, some can become addicted to the alcohol they contain, which is some kind of irony that something so pretty can be so harmful, (not only to the drinkers but sometimes to the victims of drinkers who’ve never touched a drop.)

So there’s a touch of melancholy in this painting, with the empty wine bottle tipped to one side (as if it in itself is drunk) and with the shadows and refracted light turning out in same colours of day-old bruises.

still life (2010)

still life (2010)
Originally uploaded by kelise72

16 x 20 inch, acrylic on canvas
This one is a response to Cezanne’s “Still life with Basket of Apples” 1890-94. What I tried to do with this one was modernise the still-life study with a piece of ubiquitous technology, while making a dig at my husband’s ever-present iPhone. This gadget is a real bone of contention in our house, I don’t own one myself, so I figured if I can’t beat ‘im on the iPhone front, then might as well join ‘im and stick the iPhone in one of my paintings where it doesn’t necessarily belong but I’m going to ignore courtesy and put it there anyway.

A bag of joy!!!

And in my bag of joy is a letter from the art school that rhymes with Dimblewon saying "we are pleased to offer you a place..." HOORAY!

Saatchi gallery

Jitish Kallat - Untitled (Eclipse) - 2007

I admit I felt a bit out of place at this exhibit, perhaps because I am not Indian/Asian, or perhaps more so because I am so out of touch with the concerns and issues confronting Asian society today... abject poverty, political corruption, limited (or no) access to basic resources. However, I felt I could definitely understand, even sympathise, with the artist's message. In some limited ways in my own life, I've had to do without, I've been treated unfairly, I've been taken advantage of. This is the beginning to my understanding, really seeing the world this artist has seen.

What I like about this piece in particular is the realisation that I have seen this before... well, no, I haven't been to Mumbai... but I have been to Cairo, Antalya, Phukhet... I've seen poor, oppressed but still smiling children in Palestine just "getting on with it" despite or perhaps because of the hard life on their heads. One can even see this London if you are really looking, trying to see.

Despite all the horrible things humans do to each other (or, don't bother themselves doing), there is still HOPE.

Second time's a charm....

FINALLY, I got the invitation letter from the second art school, interview is next week. SO EXCITED I might just pee my pants. And a little nervous... I have a few new things to share in my portfolio, and I feel I'm better prepared for the interview itself as I went back to my old faithful process for interview preparation. I haven't done this for about 10 years for business interviews, but this time is different. So I wrote down a bunch of possible interview questions (thank you, Internet!) and then wrote down some key points for each.

I figure when I write stuff down I'm liable to remember it.

Going a bit further, just in case they ask, I did some research on my "peers" (artists my age) and even found one woman in London (Susan Collis) who left her business career to start an art one - at age 37. She does some really cool stuff where she disguises gems and semi-precious stones (literally) in every-day objects (like a broom, where specks of paint are actually opals inlaid into the wood). I really like it when there's something else to a piece of work besides what you see on first glance; it teaches the viewer to take a second glance, give something another minute of attention, and then they'll be rewarded with something unexpected.

Anyway... I need to CHILL-AX about this interview! It's only my life we'll be talking about...

More Moore...

As promised, here is my drawing in an attempt to vaguely emulate Moore's style of drawing (e.g., his drawings in the 30's-40's of London's underground tunnels during WWII bombing campaigns)

This is my drawing of "Seated Woman" (1957) which was at Tate recently... I loved this sculpture, with its curves, shapes and shadows... the small and somewhat ridiculous tiny head has an "alien" feel about it... she is vulnerable, she doesn't belong here (or anywhere) and still she clutches her strength and maintains her dignity...