Body of Work Inspiration: Cherry Hood and Silvia Pelissario
- Submitted by: isabellaishac
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- Category: Arts
- Date Submitted: 03/30/2014 06:46 PM
- Pages: 6
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The artists Cherry Hood and Silvia Pelissario (better known as Agnes Cecile) have greatly influenced by Body of Work through their conceptual and material practice. This is seen in several works, including Hood’s “Serenity” (2004) in her conceptual representation of the adolescent mind, watercolour techniques and manipulation of background. Likewise, in Cecile’s works, such as “Tomorrow’s Final Crash” (2013), her concept of dreams and consciousness, application of expressionistic techniques and use of geometric and organic shapes, parallel my body of work. Through these elements of their conceptual and material practices, both artists have affected my artwork.
Firstly, a direct link is established between my work and the way in which Hood conceptually explores the complexity of the adolescent mind. The composer seeks to reflect the fragile states of minds of youthful males through the expressionless and paleness of their faces, representing their mental deterioration stemming from a young age. Hood utilises unrealistic proportion to subtly distort the figures’ facial features such as in “Simon Tedeschi Unplugged” (2002) where the subjects’ eyes, nose and mouth are proportionally small in relation to his head. The uncontrollable colour rivers of watercolour paint which bruise the faces of Hood’s figures add to the concept of the debilitation of mind. I will be similarly depicting various states of mind, however focusing more on consciousness and dreams. This will be executed through my use of techniques such as those used in Hood’s works, including varying proportion and distortion, to further notions of the dreaming state and the subconscious mind. Such ideas presented in Hood’s paintings reflect the composer’s influence on my body of work.
Similarly, Hood’s use of watercolour techniques are similar to those in which I intend to incorporate into my artwork, and thus her techniques influence my body of work. Hood uses 300gsm watercolour paper in her “Harold’s...
Firstly, a direct link is established between my work and the way in which Hood conceptually explores the complexity of the adolescent mind. The composer seeks to reflect the fragile states of minds of youthful males through the expressionless and paleness of their faces, representing their mental deterioration stemming from a young age. Hood utilises unrealistic proportion to subtly distort the figures’ facial features such as in “Simon Tedeschi Unplugged” (2002) where the subjects’ eyes, nose and mouth are proportionally small in relation to his head. The uncontrollable colour rivers of watercolour paint which bruise the faces of Hood’s figures add to the concept of the debilitation of mind. I will be similarly depicting various states of mind, however focusing more on consciousness and dreams. This will be executed through my use of techniques such as those used in Hood’s works, including varying proportion and distortion, to further notions of the dreaming state and the subconscious mind. Such ideas presented in Hood’s paintings reflect the composer’s influence on my body of work.
Similarly, Hood’s use of watercolour techniques are similar to those in which I intend to incorporate into my artwork, and thus her techniques influence my body of work. Hood uses 300gsm watercolour paper in her “Harold’s...