RESEARCH BASED PROJECT :
This section of my blog is to toward my research project , it's potential inform my practical portfolio.
The primary points that will be progressed in the direction of will incorporate making a cooperative energy between research, viable arranging, experimentation with media, systems, procedures and setting. There will be an utilization of explanations to pictures and accumulations of research. There will be reflections and rundowns of a progressing venture the board and furthermore reports of any discoveries as an introduction which will be condensed. In the long run there will be an assessment of the encounters toward the project .
JANUARY:
- We started to plan the course of our project and we will be exhibiting this at Rougue in Manchester.
- The group began to do an action program , for the next three months. I started a daily report and put option it up in my blog .
- We started to look through the handbooks for each unit and organised relevant dates for our diary ( Time-plan ) .
- There will be a lot of research involved this year, as well as visits to various places, interviews and surveys as part of the project.
- I have started to look at topics such as : The media Representation of Beauty , The effects of the body image in Different cultures , Cosmetic Industry and History , Perception and Pressures of beauty , Makeup as an art form , How art influences Makeup , Underrated Art form ..
- Researched Sindy Sherman
- Researched a selection of various Pro Makeup artists
- Paintings were made based on different topics as a practice toward final outcome
- Artist Talk with Georgia
- Done simple Glam home sessions with couple of friends
- was still trying to figure out what sort of Theme i wanted to base my project on
After looking at these topics i have gathered that the beauty and fashion Industry its causing a lot of harm to society by promoting an unrealistic image of beauty that women wish to aspire but cannot obtain , ads and other forms of endorsement create a combination of impossible beauty standards and can lead to feelings of inadequacy among society , events like major high-end fashion shows and everyday social-media women today are continually being helped to remember what is viewed as wonderful. There are a huge number of media publicity and Celebs influence that advance this tricky excellent picture to women everything being equal, shapes, and sizes. By putting photo shopped and enhanced models in promotions, society has created unfathomable standards of brilliance, which has incited notions of lack among women.The consequences of beauty obsession on women and girls demonstrates that not exclusively does this fixation result in diminished dimensions of confidence, but at the same time it's putting a gouge in the pocket of numerous citizens.
Cosmetics History :
Since ancient times makeup has been used to enhance beauty. Ancient Egyptians for example who wore makeup made of lead ore and copper. Women of the ancient world were often innovative when it came to their cosmetic needs. Berries were used to darken lips, the ashes of burnt matches were used to darken eyes, and much more.
From the copper and lead ore that the ancient Egyptians used to create the world's first cosmetics to the scientifically advanced products of today that can do everything from hide pores, smooth complexions, and turn the pale green of your eyes a vivid shade of emerald, makeup has been an integral part of humankind for thousands of years. Over the centuries, women used burnt matches to darken their eyes , berries to stain their lips and young boys' urine to fade their freckles. They even swallowed ox blood in some misguided attempt to improve their complexions.
Women throughout history put their health at risk with many of their homemade cosmetics. In some cultures, for example, women used arsenic, lead, mercury, and even leeches to give themselves the pale appearance deemed beautiful in the old days. (Stephanie S. Gardner, MD on February 06, 2019)
In the Middle East Cosmetics were used in Persia and what today is Iran from ancient periods. Kohl is a black powder that is used widely across the Persian Empire. It is used as a powder or smeared to darken the edges of the eyelids similar to eyeliner. After Persian tribes converted to Islam and conquered those areas, in some areas cosmetics were only restricted if they were to disguise the real look in order to mislead or cause uncontrolled desire. In Islamic law, despite these requirements, there is no absolute prohibition on wearing cosmetics; the cosmetics must not be made of substances that harm one's body.
Proposal :
Cultural Face and Body paint :
From the Ancient Persian era to the present, Corson (2003) writes that history has countless records of men and women grooming and changing their faces and bodies to either mark a rite of passage, for example puberty, or their social status. also believes that beautification has been done to symbolize social history, attitudes and values of many different cultures. (Corson, R. (2003). Fashions in Make-up: From Ancient to Modern Times. London: Peter Owen Publishers )
''Decorating one's face in various patterns and shapes has been a part of the cultural make-up of many societies since the beginning of time. Face painting is a common theme across cultures as divergent as the Indigenous American tribes in North America and various tribes in Africa and South America. In Native American Tribes, Face Painting has been used for artistic expression since ancient times. The art of transforming ourselves with make-up and masks is a universal phenomenon. Before we sought to vent our artistic impulse on a cave wall, we painted on our faces and bodies. Indigenous peoples of the Amazon have said that in this power to change ourselves, we demonstrate our humanity and set ourselves apart from the world of the animals. ''
ref: ( http://www.face-painting-fun.com/cultural-face-painting.html
Hans Silvester
Biography "Hans Silvester's lifelong dedication to investigating our world, capturing and promoting the most intimate, and perhaps enigmatic, of organic phenomena, has led the German-born artist down a number of career paths, including forays into journalism, philanthropy and environmental activism. Born in Lorrach, Germany in 1938, Silvester graduated from the School of Fribourg in 1955 before beginning his life as a traveler and photographer. His wide-ranging oeuvre includes studies of various regions around the world, including chronicles of France, Central America, Japan, Portugal, Egypt, Tunisia, Hungary, Peru, Italy and Spain throughout the 1960's and 1970's. In the next decade, Silvester turned his photographic eye toward Europe's nature preserves, the expansive Calavon river valley, and the ravages of deforestation in the Amazon. Silvester then moved on to the Great Indian Desert, documenting the lives of women in Rajasthan, before publishing a number of book series devoted to locations such as the colorful landscapes of Provence and the Greek Isles.
Silvester's recent work features the Surma and Mursi people of the Omo Valley in southern Ethiopia, presenting the beauty of the tribes' ancient tradition of temporary body decoration. His photographs reveal the use of bright mineral paints to embellish the skin and the use of flora and fauna to fashion spectacular headpieces and body accessories. His commitment to the documentation and preservation of relatively unfamiliar earthly marvels is visible in these photographs. The artist describes his immersion into the lives and tradition of these Ethiopian tribes as an effort to "save...as much as possible of this truly living art, which is mobile, changing, subject to infinite variation, and whose constituent elements...form a link between man and nature." Through the memorialization of the vivid, yet intricate designs that adorn the faces and bodies of his subjects, Silvester strives to underscore the "the beauty and purity of nature...taken out of context, [so] you're reminded again how beautiful a seed pod, a mushroom or a flower is." It is this appreciation of beauty and penchant for cultural expression that is both exceptional in regard to the magnificent forms produced by these tribal cultures, but also exceptionally familiar, reminding the viewer of the fundamental yearning for the beautiful that unites us all. Silvester's work has been exhibited at Marlborough Gallery, New York (2010, 2009); Marlborough Gallery, Monaco (2010, 2009); and Polka Galerie, Paris, France (2009). His work is the subject of almost 50 books, including a photo essay on Camargue in 1960, a well-regarded documentation of Europe's nature preserves in 1982 and a series of books on Provence published throughout the 1990s. His most recent book is Natural Fashion: Tribal Decoration from Africa (New York: Thames and Hudson, 2008)." (http://www.marlboroughgallery.com/galleries/graphics/artists/hans-silvester/graphics ) |
Eloy Morales
"Eloy Morales is a talented artist based in Madrid who discovers us with his incredible large-scale hyperrealist self-portraits painted in oil on panel. Many of these self-portraits show Eloy's face stained with layers of paint, which give his works an even more particular touch. `I am interested in working with reality to express it in terms of painting, my engine is to set a personal line, where reality and painting coexist naturally, always arriving at the image through plastic resources, pictorial and non-photographic codes, above all , I think the important thing is to show through the work, your way of seeing things and in what way you show them to the viewer. On the other hand, the tremendous power of the image and its inexhaustible possibilities also stimulates me´." (https://www.art-madrid.com/en/artist/eloy-morales) "In his paintings and drawings, Eloy Morales creates self-portraits, portraits of friends and family, figure studies, and landscape and interior scenes in styles ranging from photorealistic and naturalistic to imaginative and dreamlike. He aims to convey a sense of emotion and feeling. “I try to show my inner world in my work,” he explains. “My images are explicit but they talk of senses and the non-physical.” Morales works in series and can take over a month to complete a single piece. “A Partir de la Cabeza/About Head” is a series of closely framed images of faces. Some of the faces are unadorned while others are smeared with multicolored patches of paint, covered by jewel-toned butterflies, or dotted with whimsical googly eyes." (https://www.artsy.net/artist/eloy-morales) |
Sophie Derrick
"Sophie Derrick's work very much focuses on portraiture, but with the use of both painting and photography this genre is skewed and manipulated, and the transformative properties of paint are pushed to the limit. She photographs the act of painting onto her own skin and then paints on top of the photographs, creating a layering of image of paint and painted image, blurring the boundaries between the two. The 'self' is lost, buried beneath the paint, and the notion of portraiture is questioned. The body becomes both object and subject within Sophie Derrick's work. There is a constant shift between dualities; painting and photography, absence and presence, and reality and fiction. The painting, photographic and layering techniques, and bold, vibrant colours used within the work become obstacles to reality, distorting and creating absurd and abstracted portraits. Sophie Derrick's work incorporates the two mediums of painting and photography. She has a great interest in the materiality and substance of paint, and execute this interest through photography, creating a juxtaposition of the two mediums. " (https://www.degreeart.com/artists/sophie-derrick) "Exploiting the transformative and alchemic properties of painting, photography and sculpture she pushes out the 'self' resulting in a 'self-less' state. Through her practice, Derrick blanks out and departs from herself, transcending the artist, the woman, becoming 'agender' with the single motive of demonstrating the possibility of reaching a place where we too can be 'other'. Using her skin as the canvas, Impasto paint is placed sculpturally onto her face, before being rendered flat through digital photography, the image is then re-animated, by thick lashings of paint being applied heavily across the mounted surface Sophie Derrick's practice is founded on self-portraiture, but her blending of sculptural painting and performative photography, successfully transcends any traditional interpretation." (https://www.sophiederrick.com/about-cv) |