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Starting from painting family members and friends, to being commissioned by a variety of clients wishing an array of portraiture styles, I have accumulated and allowed myself the expansion of my painting experience. Behind every case study tucks away many different stories, personal memories, emotional connection and holdbacks. Through the painting of portraits, my world opened up to new experiences and discoveries in my thought process, and this journey has become nutrient for my creative practice.
First chapter “Introduction” explains the intention, goal, method and substance behind my research. Second chapter “Portraiture Difference,” describes the process in which I came to set portrait study as the theme of my thesis, how that led me to intimately characterize my deceased grandparents, and utilizing the method of documenting my surroundings via photography to materialize my research into portrait paintings. Embarking on my journey into the world of portrait study, I have come to express my exploration in the realms of portraiture through the stages of my “inception,” “continuation,” “comprehension,” and “revitalization” upon ideas. During this undertaking, I experienced an abrupt turn of events when I adopted an abandoned dog. I cared for her through her pregnancy and witnessed the birth of her puppies, which piqued my interest in delving into the complexity of the power of maternal instincts. I took up thorough studies in related readings and classes, to try to understand a perspective unfamiliar from which I was born into, so I can deeply self reflect and to begin to create a series of work related to women. From girls wanting to capture their most beautiful moment as a bride, to women conformed to the barriers of society, to expecting mothers and experienced mothers, I tried to channel a new found empathy in order to paint these characters. Further more, I attempted to extend the concept of maternal instincts onto my concern about the structure of our society and the existing problem of overlooking these omnipresent roles deemed inferior in our community.
Third chapter “Ploughing and Combing,” I utilize the theory of the “The Butterfly Effect,” to illuminate my perspective. Utilizing the theory of the butterfly effect to contemplate and contrast my past and present point of view, in conjunction with my artistic development, I am able to intelligibly analyze my constant and sustained focus on problematic societal values. And by approaching subjects with a “Feministic Mentality,” in Chapter Four, I rediscover my grasp on people, situations, materials, environments, even comedic films, and start to realize all the small minute details I have been blinded to, and persistent issues I was insensitive to. Having been made aware of these concerns, I also began to challenge my original impression of the Utopian ideology, and consequently set out to study the dystopian doctrines, its related artists and bodies of work, to include my dissection and conclusions about this world as a whole in my own creations.
Chapter Five describes how my evolved understanding of all my explorations in its entirety, have culminated in the final production of my portfolio, which I entitled, “The Portrayal of felicity.” And in Chapter Six “Dissection,” I further elaborate on my studies.
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