Expanded Painting: Seriality

 



For the seriality painting task I worked on 10 different paintings at the same time which were all developed from the same photographic reference, a still image from the film “Dogtooth” (2009). During the process of making these paintings, I realised I preferred the images where the figures were more suggestive and less realistic so I repeated the defacement of the foreground figure in all the pieces, and relied on a more unfinished effect. I really liked playing with different colour tonalities and I prefer the pieces where the colours were paler and more subtle – this was achieved by using chromatic greys next to colours at full saturation. Working in seriality is useful to reflect on what one’s work lacks or what is successful by comparing it with different versions of the same, and to uncover the meaning of the painted subject through its repetition. 

The source image:
The film still image attracted me for the closeness of the faces and the transparency of the window through which we see two girls gazing at something outside which we ourselves cannot see.

The importance of presentation:
The way I presented the works, in a horizontal line on the wall, made them look like a succession of stills from a film, conveying movement and stillness at the same time, and a narrative or dialogue between the single images. The photograph of the paintings placed next to the actual succession of paintings expands further the exhibition space/visual field, adding a sense of endless repetition, and conveying an illusion of space perception. This demonstrates that the way a work is presented is of great value since it can completely change the meaning of the work or can contribute to the way in which it will be received by the viewer.

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