Perspective

Ongoing investigations and explorations of how chopping into the original photograph, at least metaphorically, and combining with either simplistic linear or more detailed sketches of fungal forms resulted in an exploration of utilising differing facial dimensions. I wanted to play, at a foundation level, with 3 different sizes of sections of the face whilst also completely removing random areas. Having a logical mind in theory increasing the size of the facial features should have been simple but my neurodiversity also creates confusion when trying to work with multiple scales even when limited in number meaning often triple checking calculations/

It is worth noting here I work not using the grid method but a goniometer ruler which combines a protractor and ruler thereby enabling me to check angles as well as measurements - this is combined with continuing to learn the Loomis method. However, the Loomis method for individual sections of the face is not appropriate hence why the calculations here are so vital. As I write, my eyes keep being drawn to the image - I am continuously critically analysing each section noting again as part of my process, areas that require correction: as with the previous work I note I am struggling with the lips which appear to be becoming a weak area along with the nostrils with a particular focus on shading to create form. Writing these blogs creates a record that I can refer to at a later date in order to refresh my memory in order that I can rectify the areas I consider mistakes - which at the point of writing means before an upcoming exhibition! By writing the blogs within hours of finishing each piece also enables editing with further research added at a later date if required but also means I capture my emotional responses which with this piece have caught me off-guard - despite the mistakes there is something about this style of drawing that is pulling me in and capturing my attention...

I rarely say I like a piece openly but the utilising of differing dimensions is changing my own perception or understanding of my work. The usage of the differing dimensions draws my eye around the piece questioning why this composition has been used? what is its purpose? and what does the linear sketch mean? why has the artist used this configuration been used? its purpose was simple - a playful exploration of how it may impact upon my narrative whilst seeking to step outside of my comfort zone into unknown artistic territories .... and yes the continuous research into the intra-active becomings of each piece of work. Moreover, a sudden realization, epiphany, has meant that my previous titles of Disengage/Disconnect and even the title of this blog are in fact incorrect - the word is 'disruption' as in the Disrupted Realism [movement] of John Seed. By, at least theoretically, randomly slicing or choosing differing areas of the face to create specific focal points, their placement on the page and, as in the case here, changing the original photographic dimensions by x 1.5 etc I am seeking to disrupt realism by:

"presenting us with recognisable fragments of the human figure rendered in a way that does not allow the eye time to settle. The viewer finds himself following the painter all around the surface, between layers, in and out of pictorial space" (Seed, 2019) Furthermore: "And now for the unexpected happenings in the works in terms of this existing body of work: DISRUPTED REALISM – the words in capitals to emphasize their impact upon my work and which speak of “works of art made by artists who have deviated from the norms of realism” (Seed, 2019) .....It would be easier to video myself than explain the very unexpectedly strong emotions and actual physical reactions as I listened to a YouTube interview between Nicholas Wilton and Seed: everything fell into place as I realised this was my artistic ‘home’ contextually and spiritually as the concept simply makes sense to me – there is no other description that more aptly describes my feelings whether personally or academically.

The title of Seed’s book “Disrupted Realism Paintings for a Distracted World” sums up what he deems not a style but a phenomenon: he speaks of how we are in perhaps the most disruptive and overwhelming era of all time, and how it often causes considerable anxiety to many due to an almost constant bombardment on social media, digital technologies, screens and so forth. Citing Hughes (s.d.) Seed states how culture has become nature – a statement which is hard to disagree with. However, what caught my attention was how realism is becoming fractured but that artists within their studios are seeking to find ways of articulating the “mundane and distracting and the profound but somehow it has got to coalesce and find form in their [your] painting” (Seed, 2019). Furthermore, Wilton and Seed spoke of how within disruptive realism perception and subjectivity are inherent constituents and how perception is a part of the subjectivity itself – it evokes emotional responses, feelings and personal connections which in turn draw the viewers into the world of the artist (2019)." (Seed, 2019 cited in Murdock, 2023). I have included the above excerpt from my MA Fine Art blog as the words I wrote at the time are perhaps now even more appropriate within this project - I draw specific attention to the last 2 lines which state: "...within disruptive realism perception and subjectivity are inherent constituents and how perception is part of the subjectivity itself - it evokes emotional responses, feelings and personal connections....." This particular self-portrait invites individual perception and therefore subjectivity rather than objectivity as I am seeking to create emotional responses from the viewer - as it in fact did with me. My own responses were curiosity, intrigue but also a feeling of becoming completely unsettled - the piece is unnerving as it disconnects facial elements whilst placing them against a fungal form but that disconnections is meant to provoke impressions of inter-species connectivity or indeed immerse ourselves within the natural world again. The disruption of the facial form creates pictorial space, it creates layers which I feel could be exploited further - I was struggling to work out where this project was going: the original intention was in essence to learn to draw faces through a repetitive drawing of the same photograph through a series of 12 self-portraits - the twelfth was to re-create the first attempt albeit with a potential aim of photorealism or to potential recreate Robert Lenkiewicz's sketch of me as a child but in adult form. However, what is emerging is a deeper exploration of artistic styles and also how philosophical concepts, including that of Karen Barad. may impact upon the evolution of my work including during the making processes of individual pieces.

BIBLIOGRAPHY:

Andrew, L. (2011) Drawing the Head & Hands. London: Titan Books.

How to Mix Color Complements to Create Skin Tones - YouTube (s.d.) At: https://www.youtube.com/watch?v=ZaepNDsgEXQ&t=3s (Accessed 28/04/2025).

Barad, K. (2007) Meeting the Universe Halfway. USA: Duke University Press.

Murdock, J. (s.d.) MA 1.3: Disrupted Realism and Resolution – MA Fine Arts. At: https://spaces.oca.ac.uk/janemmurdockmafinearts/2023/08/02/ma-1-3-disrupted-realism-and-resolution/ (Accessed 30/04/2025).

Seed, J. (2019) What is Disrupted Realism. Atglen, PA, USA: Schiffer Publishing.

Thesaurus results for DISENGAGE (2025) At: https://www.merriam-webster.com/thesaurus/disengage (Accessed 28/04/2025).