The subject as unknown
One Hundred Faces
The distance to the surface
Printmaking multitechnique experimentation throught self-portrait exploration
Throughout the last years of career in fine arts at the University of Vigo and at the Kingston School of Arts, it has been developed an investigation around the common and unique face,
the individualisation of the contemporary being and its vanishing in the hands of a unifying society.
Through portraiture and gesture, more than 200 faces were recorded between 2018-2020.
Expressionism & art brut
Expression through the repetition of the self-portrait
Repetition of gestures, colors and shades. Monotype with a mirror, xilography over a fast draw, serigrafy made with black paint over an acetate
carborundum, embossed expressions, modeling with eyes closed, painting with the fingers and raw hearth. These three projects went around the self-expression
They aim was to find answers to some difficult questions of self-existence.
With the used of different techniques in experimental ways it was possible to get to know the self in a better and deeper way.
The distance to the surface
How many layers do we have to break until we find the way out of the self?
A reflection on the imposed layers of protection with which we approach the world.
Questioning the need for these layers in order to be able to function in supposedly non-hostile environments
and a comparison or metaphor with the use of cumulative layers in graphic techniques.
Technical Research
Xilography, screen-printing, carborundum and monotype. Manual graphic techniques that plays with the role of the artist as a blind creator. The beauty of still the unknown.
Artistic experimentation
With a mirror as first companion, it has been sought the repetition of the own face, increasingly striving for neutrality and separation from the entity that appears in the reflection.
Through colour and the techniques employed, results were achieved that were not being sought.
The size and the prints
There were achieve 16 multitechniques and multi-layers prints, made over different types of fabrics. Of 60 x 90 cm.
« Nous entendons par là [Art Brut] des ouvrages exécutés par des personnes indemnes de culture artistiques, dans lesquels donc le mimétisme,
contrairement à ce qui se passe chez les intellectuels, ait peu ou pas de part, de sorte que leurs auteurs y tirent tout
(sujets, choix des matériaux mis en œuvre, moyens de transposition, rythmes, façons d’écritures, etc.) de leur propre fond et
non pas des poncifs de l’art classique ou de l’art à la mode. Nous y assistons à l’opération artistique toute pure, brute, réinventée dans l’entier
de toutes ses phases par son auteur, à partir seulement de ses propres impulsions. De l’art donc où se manifeste la seule fonction de l’invention, et non celles,
constantes dans l’art culturel, du caméléon et du singe».
Jean Dubuffet, tiré de L’Art Brut préféré aux arts culturels, Paris, Galerie René Drouin, 1949.
One hundred faces
Monotype research
artist-book
Kingston School of arts - UK, 2019
THE SUBJECT AS UNKNOWN
Trying to answer the self about his aim inside the creating field
Ceramics - Monotype - Painting - Weaving - Printing
Final degree proyect. The exploration about the commun face through touching and feeling the materials.
The materiality of the object
The expressionism of the technique and the everyday space.
Want to know more?
In negative
Processes and results on analogical photography
