The self-portrait can become a major exercise in independent production. The artist becomes director in the clip in which they are the lead actor. We control the decisive moment that is captured and the setting in which we are contained. For a moment, we seize control of time and space. We control what details are included in the final works and what details are excluded. There is an essential element of “control” in the art of self-portraiture. The primacy of thought leaves no chance of misinterpretation. After all, no one can articulate your thoughts better than you can. Artists will quickly find that the model who is most reliable, committed, willing to push themselves to great lengths, anxious to experiment, and to most easily grasp the concept of the artist’s direction and express their personal aesthetic, is themselves. If the work that we want to create requires the human figure or face, nothing could be more accessible than our own bodies. Without the financial resources to hire professional actors or models to pose as subjects for our works, artists often rely on themselves or on the assistance of friends to avoid complications with model release forms and financial compensation. We resort to using whatever materials available, through whatever means possible. Often we as emerging artists begin our practice with minimal resources at our disposal. Necessity and Control – The Practical Aspects This essay addresses various reasons why artists may choose to use self-portraiture in their art, particularly in the art of contemporary photography. Philosophy addresses the non-essential, but intriguing question of – “ why?”
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