My work also technically appropriates classical religious painting as a means to draw attention to these themes. I have adopted a variety of techniques. One such technique that was widely used by the old masters is underpainting. This is a preliminary process that renders the outline, defines the composition, and sets the tonal atmosphere of the painting. Underpainting creates a neutrally coloured version of the final painting. Glazing allowed the Old Masters to build on the limited paint colours that were at their disposal and replicate the complicated, deeply nuanced hues found in real life, this is an important technical devise that allows me to replicate solid form in subtle planes. I limit my palate, regularly only using four colours plus a black and a white, glazing is used to add depth. Another technique I employ is scumbling. This is used for smooth transitions from dark to light also allowing the original colour to be modified without completely concealing it. It results in a hazy opalescent effect. I also carefully appropriate the use of Leonardo da Vincis sfumato, blurring outlines allowing one form to merge with another. Predominantly however I have referenced the work of painter Caravaggio. His work has been intrinsically important to the overall presentation of this collection of work. I have used stylistic elements of darkening the shadows and transfixing the subject in a shaft of light (chiaroscuro). This adds to the illusion of 3 dimensions on a 2 dimensional plane. Religious painters frequently used this to emphasise the importance and holiness of the main figures by standing them in a shaft of light, or even the main figure emitting a kind of holy light. These devices coupled with the use of a dark background help to emphasise drama and radiance. This use of chiaroscuro is also seen in film, (particularly that of film noir), its application for reasons similar to that used in painting, i.e.to heighten drama and add a psychological tension. Caravaggio’s other compositional devices, such as foreshortening, perspective and the use of a central main figure are also used. All these elements reminiscent of classical religious painting draw attention to a way of life that seeks to maintain its own sacred rituals and reveres its own holy cows.
Posted on: Fri, 14 Jun 2013 17:28:23 +0000
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