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anne harris: "phantasmatical: self-portraits" at alexandre gallery - translucent mylar

by:Cailong     2019-07-26
anne harris: \
Anne Harris, the Invisible Girl, 1/2x31verso)
Watercolor, graphite, oil (recto)
Artist Anne Harris recently told me in a telephone interview that on frosted mylar, "I kinda drew myself out of work . ".
In fact, Anne's wonderful exhibition in Alexander's kitchen-
Fantasy: SelfPortraits" --
It is likely that her work as an artist will be more secure than ever before.
One point she is trying to make in a humorous way is that women in recent works seem to be moving towards a complete disappearance.
Harris's image fades away, a feature of her admitted "long-term evolution.
She revealed, "over the years, I have become more and more interested in my idea of drawing a piece of air.
With this in mind, most of the works in the Alexander exhibition contain the word "invisible" in the title: "Invisible (Blue)," "Invisible (Pink Face)," "Invisible (Blonde)" and so on.
There is oil painting and painting on paper in the exhibition, and there is a mix
Media work in 2007, the Invisible Girl, was executed on both sides of a mai la.
In 2006, Annie drew a "sister" painting on buff paper, which she said was the starting point or "template" for the invisible series ".
When I asked Harris to tell me more about the "Invisible Girl", she took some time to explain how it was made and how it evolved: it was translucent
I painted the back of Mela in a pale yellow watercolor: Neapolitan yellow.
Then I drew the painting in front with graphite, watercolor and oil painting.
I think "Invisible Girl" is a picture because of the ground-the mylar --
Has a prominent and positive role.
What makes this painting meaningful is that the background, the space around the graphics, is an opaque oil painting, which gives me the idea of painting.
The picture is mainly translucent ground.
The "modeling" of the edge is actually a shadow projected on the wall behind the drawing.
Harris strongly believes that the theme of her "invisible things" and the spirit of improvisation must come from painting.
"I don't feel overly nervous and heavy about the drawings," she explained . ".
"I can throw the drawings at will and throw them away.
They are more open and intuitive, pulling out from the ground rather than layering like the skin on the ground.
Painting sometimes puts me in trouble like a black hole;
I am trying to learn how to draw my paintings.
"Liberating yourself in technical terms is a necessary factor that allows for a wider expression and multiple new meanings in Harris's imagery.
Although I have never had such a goal, I am inevitably inclined to turn to weird.
Really, my best painting seems to happen between subtle and weird.
These paintings, because they are more delicate, the touch is more obvious, the range of color and value is very close, and they take a line between subtlety and intensity. . .
While beauty is another topic, I hope it will be better, stronger and perhaps more beautiful.
I realize that I am trying to draw a beautiful painting that many people think is not beautiful.
Anne Harris, invisible. Pink Face), 2011 -
2012, oil on linen, 33 1/2x30, because "invisible" starts from the selfportraits --
Like all Harris's work. -
They will certainly deal with self-awareness.
In an article written for the catalogue attached to this exhibition, Alison Ferris, director of the Kohler Arts Center, has been following and researching Anne's work for years, commenting that, recent paintings show the physical and emotional consequences of "middle-aged menopauseaged women.
"Harris's reputation as an artist was established by a painting that recorded her pregnancy, and she was pleased with this observation, but did not want it to limit other possible meanings that her work might imply
In a more general sense, Anne's recent work explores a series of ideas about how others see us, how we feel about being seen, and how we look back.
"What is the feeling of being stared?
"This is a very serious question for Harris.
"In adolescence, consciousness happens, and with that comes vulnerability and strength: it's a bit scary and a bit good.
This is complicated.
You can't just be yourself walking down the street.
You are defined by those who look at you.
When asked how the feelings of concern relate to the invisible theme, Harris explained that aging-
Both positive and negative. -
Part of the mix, of course.
When I was young-
Looks better-
I am more anxious and more conscious.
Then, as my looks began to disappear, I thought, in my thirties, the expression began to stop after I had my son.
I gradually realized that I was actually not so strong, not so much automatic power and influence as I was young, I was disappearing and could only be noticed by being heard, but I was also more confident, more likely to speak out.
Invisible is a force that I can stare with impunity because no one is looking at it: before, if I was staring at it, it was an invitation and my default eye position has dropped
So I am trying to paint the contradiction: a painting that is obviously invisible, a feeling that is invisible and exposed, a feeling that is getting stronger and stronger.
"As a technician, mature and well served Harris, she has really mastered the materials and methods.
It's no surprise that the color palette of her recent oil painting has been carefully selected and adjusted to suit the nature of her image.
Harris, who usually works with a few white people, including old Dutch klimnitz and titanium, also likes to use Williamsburg zinc Buff: a very pale pink color.
Raw umber is a dark warm tone that actually gets cool when mixing with white and playing warm earth red and yellow.
As Harris explained: I tend to rely on relative colors ---"no-
Name "color pair" noname" colors --
This pushes each other to warm or cool, or the colors layer to each other to produce a mixture that is technically called Half
Shades or optical Gray.
The best way I can describe this is to use the analogy of the blue veins as we see them through fair skin.
Layers of skin are covered in the veins, and the light passes through and bounces, allowing us to see blue translucent blood vessels carrying dark red blood.
The translucent paint layer works the same way.
Emotionally, technically, in style, Harris is on the tightrope and she seems really excited to be there.
She described a "invisible thing" to me on the phone, and she told me, "the number may be smaller than the weight of the air: I like to try to draw dense air.
The whole picture becomes a body.
It was all skin and air, which made me very excited.
"Anne Harris" fantasy: Self
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