Continuing to work on the idea of a selfie, I did my own photo shoot in search of a silhouette and method in conveying the idea. Here, I turned my attention to the work of photographers - Helmut Newton, Silvia Grav, Erwin Olaf, Gerard Rancinan... What body shape do they distinguish and for what?
In one of the GQ magazines, I came across this photo...
After all, Michelangelo, Magritte and any other modern photographer are looking for a gesture and a form of modern movement.
David by Michelangelo, Florence, Galleria dell'Accademia, 1501-1504 [Sculpture] At: https://ru.wikipedia.org/wiki/%D0%94%D0%B0%D0%B2%D0%B8%D0%B4_(%D0%9C%D0%B8%D0%BA%D0%B5%D0%BB%D0%B0%D0%BD%D0%B4%D0%B6%D0%B5%D0%BB%D0%BE) (Accessed on 01.10.19)
Helmut Newton [Photography] At: https://wwd.com/fashion-news/fashion-scoops/gallery/vintage-newton-a-three-day-pop-up-exhibition-opens-in-london-10286928/#!2/newton-261115-09 (Accessed on 01.10.19)
I was looking for a new interpretation of our gesture with a telephone in a way of the work of The Son of Man (1964) by René Magritte. But silhouette takes away focus from the face and the whole meaning goes to the figure. So, I need to focus on detailing the face with a phone I think if I want to open this subject.
I explore the combination of portrait and abstract form or painted drawing by trying variations of the digital drawing, painting on photographs and computer processing.
The result was interesting, but here the idea spreads out from the main topic of the selfie. Although ordinary people may like this ... but not art critics and professors))).
I also tried to combine my own drawings with digital images. There is some kind of indifference to the crowd behind me and the effect of the Matrix. All the same in black suits.
In this image, although the main focus is on a closed face, there is still a narrative about the crowd and questions begin: who does what?
Even if I respect Greenberg's theory of the fleetness of work on canvas, one of the trends now in abstraction, as I can see in, is imitation of digital lines and forms. In my opinion, introducing simple shapes into a abstract drawing — a circle, a square — can enhance three-dimensionality, and this form can well be contrasted with complete abstraction. But here I am not sure how such an independent work can be combined with a portrait. The left sketch wins significantly compared to the left. So there is a clear narrative and the work is not overloaded.
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