Katherine Peeke
PT 2 MA Drawing
Unit 2 (2014-01-03)
3000 word Research Paper–Tania Kovats
‘Real Impossibilities’
‘Defining the Face’
1
Abstract
The label ‘portraiture’ conjures an image of a convincing likeness, with
aspirations of capturing the idea of self. I will investigate whether this is
more likely an illusion.
By seeking other ways to portray the human face, I hope to awaken a
renewed interest within this genre and by treading an iconoclastic path,
override the social conditionings that guide those preconceptions.
Historian Alan Trachtenberg notes, ‘that within a small band of
photographers, who choose to disdain the classic ‘portrait’,
...In place of persons with revealing faces we look for contingencies,
signs of constructed-ness, cracks and fissures in facades which disclose
the paint and wires.’1
I wish to expose those wires.
Introduction
1
Cited in introduction. W M Hunt, (2011 ) The Unseen Eye. London; Thames &
Hudson.
p9
Cover: (2013) ‘Illusion’ Trompe l’oeil acrylic air brush painting by Katherine Peeke
This image was drawn then painted using an air- brush to relate the reality within
illusion. By leaving the imagery unframed I wished to further convey a trompe l'oeil
by its appearance of an actual hook on the display wall.
2
Taking Apart
By deconstructing and by rearranging the components that make up the
human head, or displaying in an unexpected way, I wish to take a journey
into the unseen and disregarded. To view from the
inside as an understanding of that which houses the
intellect. To find a communication narrative, which
is assessable to a larger audience. To challenge the
perception of that we perceive to be a
representation.
Although ‘Feast for Eyes’ is an over decorative
style reflective of its era, it serves as an example of
how a composite of parts can recreate an illusion
of the whole.
‘Feast for the Eyes’
by Giuseppe Arcimboldo
2
Behind the Mask
Free from observation, looking outwards, I believe we display our true self
without restriction. It is only when the attention is focused upon how we
appear to others, especially in relevance to a lasting portrayal be that a
painting or photograph, that a mask descends.
But just as a portrayal of an individual should be more than that of an
Avatar, there is the collaboration between artist, subject and audience to be
considered. A willingness of revelation by one, harnessed to the sensitivity
of interpretation by the other.
2
www.smithsonianmag.com/arts-culture/Arcimboldos-Feast-for-the-Eyes.html
3
The ideal receiver of such output ‘…not so much a perfect reader
who interprets the work exactly as the author (artist) intended, but
as a reader who is awake to the possibilities that the work
contains’. 3
Here Lisa Stokes expression of personal
grief is articulated starkly through a
masked persona of a clown. Her choice of
garish colour and visceral application of oil
and graphite onto the canvas further
reinforces this disturbing connection. A
raw reflection of the artist’s state of being
at that moment, seldom achieved and
articulated through an image.
Further demonstrating the power of the
mask in depicting or hiding an emotion.
’Self Portrait with Clown Face’4
By this adopting of a social
mask, the wresting of its persona is a difficult prize to achieve. Being but
transient inhabitants of our bodies we are in a continual state of change.
Human cells are constantly being renewed and those which now
constitute our persona are quite different from those of ten years ago.
Thus the cells of our body are a great deal younger than we are. So
although we think we’re the same person, it could be an illusion to which
we are attached through habit.5 Fletcher
By displaying the face in a provocative manner, I would expect to witness a
change within a viewer’s perception. Rendering the human head a
Eco, Umberto. (2007 ) ‘The Role of the reader’ 1981 cited by David. Crow, D
Visible Signs: An introduction to Semiotics in Visual Arts. Switz; AVA Academia.
p.169
4 Lisa Stokes (2013 ) ‘Self Portrait with Clown Face’ BP Portrait Award Exhibition
5 Alan Fletcher. (2001) The Art of Looking Sideways. London; Phaidon.
3
4
predominant theme rather than an object.
‘Matt Series’ by Katherine Peeke Air brushed acrylic & mixed media. A duplicity of
image displayed through overlays replicating skin.
And within this interpretation, an engagement established.
Focillon, notes,
‘Whenever we attempt to interpret a work of art, we are at once
confronted with problems that are as perplexing as they are contradictory.
A work of art is an attempt to express something that is unique, it is an
affirmation of something that is whole, complete, absolute. But it is
likewise an integral part of a system of highly complex relationships……..A
work of art is……both matter and mind, both form and content.’6
Coding: The Reading of a Face
In early prehistoric drawings there are no references to individualizing
features such as states of mind. We have to wait many decades before
depictions acquired features of a psychological nature. Not until the first half
of the fifth century BC were we to see Greek portraiture move in the
direction of realism. Yet, I suggest, there still existed a narrative language.
With those extra psychological layers of information I question whether it
hinders or helps us in this interpretation.
6
H Focillon. (1989) The Life of Forms in Art. New York; Zone Books. p31
5
With each of us coded to decipher facial
language from an early age.
“By the age of 4 days, new-borns recognize their
mothers’ faces. This result suggests that at a
remarkable early age children have stored
important information about their environment:
features of their mothers’ face. You can see why we
characterized infants as “prewired for survival”.
Gerrig7
Just as we have little difficulty in
differentiating people we know or recognise from amongst a crowd.
I suggest, with this transference of survival techniques into adult life, a need
to determine recognisable genealogical and cultural similarities in a
portrayal. And in doing so, clouding our appreciation. If this is so, the lack
of connection and even rejection of the unfamiliar, along with the artist’s
influence of style, culminate in a biased outcome.
’Takuma, racing
driver’ 2004
8
Yet not all artists wish to depict
the ‘inner self’ but distil the
elements of recognition into a basic language of line and plane, discounting
the use of emotional indicators. As with artists Julian Opie and Andy
Warhol, where they reduce the face to that of an avatar.
Adding to this argument is that of a growing awareness of ‘self’. With an
obsession towards documentation of oneself, ‘selfies’9 a bi-product of to-
7
Adapted from R Gerrig et al. (1999) Psychology and Life. (s.l.) Longman. p.
322- 324
8 https://artsation.com/en/artists/julian-opie Tukuma, racing driver 2004
9
www.oxforddictionaries.com/definition/english/selfie 1/12/2013
Definition of selfie in English (also selfy) noun (plural selfies)
6
day’s digital ease. With the shutter of illusion descending in default, before
real revelation. Appointing social networking sites as the new archivists to
our existence.
Here we must to ask; is this constant exposure a declaration of a brave new
confidence, or a prop to our self-esteem? Already the world is reacting in a
reactionary stance with ‘unselfies’.10 Where an identity is hidden by words
and deeds.
A personal giving pledge displayed in front of the face and posted on social
media. Shifting the emphasis away from self to once more participate as a
social collective.
As Edmund Leach, the social anthropologist put it, ’Each of us is
constantly engaged from birth in a struggle to distinguish “I” from
“other” without wholly isolating the two from each other…and art is
that bridge bringing a fusion whilst separating into an objectively
perceived
feature.’11
Networking sites are
equally viewed as a
collective invention, a
shared identity in
which we collaborate.
A photograph that one has taken of oneself, typically one taken with a smartphone or
webcam and uploaded to a social media
Origin: early 21st century: from self + -ie
10
Matthew Bishop
US Business Editor at The Economist; guest interviewer for Newswire.fm;
speaker through Leading Authorities
www.linkedin.com/today/post/article
Forget the self. Lets make 2013 the year of the unselfie
11
P Fuller, (1983 ) Aesthetics After Modernism. London, New York; Writers &
Readers. p.17
7
‘Fish Woman’ Rene Magritte
This work of a woman transforming into a fish Magritte describes as follows:
‘Collective Invention is the answer to the problem of the sea. On the beach I
laid a siren, the top part of whose body is that of a fish, while the bottom part
consists of the belly and legs of a woman’. 12
Misinterpretations
Also to be considered within this argument, is that of physical malfunctions
within recognition, those unable to analysis expressions, as with
Prosopagnosia and Autism. And how this relates when viewing facial
imagery.
Prosopagnosia, also known as face blindness, is an impairment of
recognition of faces; making the identification of family members, close
friends, and even themselves an impossibility. Prosopagnosics use
alternative routes to identify others, with great reliance on non-facial
information such as hair, gait, clothing, voice, and other data.13
With Autism, face processing (emotional expression recognition; sex, age,
and attractiveness via the face), are abilities that are often difficult to selfassess.
Rene Magritte cited in Marcel Paquet (2013) ‘Magritte’ Koln; Taschen.
Appendix A www.faceblind.org/research
6/11/2013 Bodamer's report (1947)
12
13
8
Ekman’s ‘Pictures of Facial Affect’.
Facial expression dataset.14
The mimicking of other people’s facial expression is something that
we all do naturally within social interaction but when this is absent what
difference does this impact on interpretation?
McIntosh et al. (2006) compared the automatic responses of a control
group with individuals with Autism. The results showed that individuals
with ASDs did not automatically mimic facial expressions they saw in the
pictures. 15
I would state then, within a normal response range, we are
subconsciously sifting our emotional reactions when reading face imagery,
unlike contemplating that of a landscape or still life.
Its absence further demonstrated within states such as depression,
sickness and grief, with its diminishment of animation.
In Silvya Plath’s ‘The Bell Jar’ she cites,
To the person in the bell jar, blank and stopped as a dead baby, the world
itself is a bad dream’.…and on its lifting, as with electric shock
treatment,…. ‘an allowance for fresh air replacement’.16
14
Image. http://www.jcss.gr.jp/iccs99OLP/o1-10/o1-10.htm
Appendix B http://www.spring.org.uk/2007/01/emotional-processing-inautism-spectrum.php
McIntosh et al. (2006)
16 Silvya Plath. (1966 ) ‘The Bell Jar’ London; Faber and Faber Ltd. p227
15
9
Testaments following successful treatment for depression, talk of a ‘lifting’
of gravity…to be noted in subtle changes in eyes widening,
facial muscles lifting, a change in body language, an awareness of one’s
environment. Opposed to the slackening of muscle tone in illness, grief and
ultimately, death.
The Head Fractured
To evoke a reaction, distilling a
portrait into a fragmented state be it
by cropping or a more literally
manipulation,
( as with Escher’s ‘Band Bond of
Union’17) is provocative.
Engaging firstly with enquiry,
with a subsequent following of an
emotional deciphering.
Where with the distortion
concept, as with actionist
Ana Mendieta’s ‘Glass on Body’
series,18
We are deliberately provoked into
the reverse reaction, an immediate emotive acknowledgement, followed by
enquiry.
She has achieved transference of perception from the normal to the
grotesque merely by the use of a plane of glass resulting in this frank
approach.
M C Escher. (2000) ‘Band Bond of Union’ The Graphic Work. (s.l.) Locher,
Benedikt Taschen,. P 46
18 Ana Mendieta’s ‘Glass on Body’ series, Hayward Gallery Sept 2013
Retrospective ‘Traces’
17
10
With their impossibilities, both of theses concepts demonstrate an ability to
affect a provocative reaction in that of the onlooker.
Self-Depiction.
In addressing the self-portrait within this correlation, should we question its
vanity or by the very intimacy of relationship, afford an allowance for
boldness? With the absence of expectation, the artist has liberty of
expression, usually only found when applying the role of muse to family or
friends. An exploited familiarity built upon unguarded engagement and
trust.
Marc Quinn’s ‘Self’ (ongoing project) 19 is an investigation into such a
freedom.
Described by Quinn as ‘a ‘frozen moment on life support’,’ the work is
maintained in a refrigeration unit, reminding the viewer of the fragility of
existence. The artist makes a new version of ‘Self ‘ every five years, each of
which documents Quinn’s own physical transformation and deterioration.
Accomplishing a likeness as close to a realistic representation as possible.
Leading us to discuss the genre of realism.
19
The National Portrait Gallery in London acquired Self 2006
11
Extreme Possibilities. Realism
In the addressing of reality within art, we must first consider the place of
photorealism. Here I pose that our sensibilities of acceptance are mostly held
within a negative engagement. A paradox of admiration for the technical
skill applied whilst experiencing a suppressed curiosity.
There appears within certain areas of the art arena, a dismissive attitude
towards the representative and the figurative, viewing such stylistic
strategies as at best, self- congratulatory. A requirement here is to seek a
crack in this ‘façade’.
Tom Martin ‘Put Your Cards on the Table’20
Photorealism, which arrived in the 1960-70 was a direct reaction against
abstract expressionism and today
with hyperrealism the re action to
current orthodoxy continues. I
propose here that today’s
detachment to photorealism may
be persuaded over by
hyperrealism. A style of painting
possessing a high level of
technical
aptitude in creating a reality, that
exists in an invented world. Providing a technical competence of which an
artist is able to execute ideas without compromise.
Identified in part, by the style of the Surrealist, where dreamlike images are
given life.
Surrealists
20
Tom Martin (2013) ‘Put Your Cards on the Table’ Acrylic on aluminium
composite panel.
www.plusonegallery.com
12
No image serves better to re-enforce my subject than Rene Magritte’s
‘The Portrait’ 21
‘Here, invented worlds are expressed in a realistic manner conjured by the
unconscious that transcend reality’.22
In this I suggest a parallel to hyperrealism.
’Works may be figurative, but the forms
taken are from the external world are
always vessels for artist’s inner world,
dreams and desires’…….’While variously
pleasing, provocative, disturbing and
confusing, Surrealist art bears witness to
the fact that, in the words of Breton, ‘the eye
exists in its savage state’.23
The simply table setting is not as simple
as it seems. Each object is rendered with pictorial realism, yet everyday
reality is overturned.
The Belgian Surrealist writer Louis Scutenaire described Magritte's
objects.
...’ as totems’ and the spare arrangement here points toward the
significance of a ritual meal. The perspective of this still life tilts
dramatically toward the surface of the picture plane, as if to confront or
perhaps invite the viewer to join the table.24.
Field Work. Collaborative Influences.
21
http://www.moma.org/collection/object.php? object_id=79990
Donna Roberts,( 2005) forward in ‘Surrealism’ The World’s Greatest Art. Michael
Robinson. London; Flame Tree Pub.
23 ibid
24 Museum of Modern Art New York, Gallery Text. Magritte, The mystery of
the Ordinary, 1926–1938 September 2013
22
13
To test my hypotheses, (as stated in my introduction)25 I set a practical,
collaborative experiment within my peer group. I asked the group to focus
on the separate components that make up the ‘whole’ and after drawing a
front and profile view of a partner, cut into segments and reassemble from
random samples.
To explore the influence, that recognisable indicators assume, when
assembled in unexpected and unfamiliar formats. Paying attention to an
individual’s unique ‘markers’, which separate us in recognition.
I chose this poster as a demonstration example.26
A montage of segments from
six portraits found within the
British National Portrait Gallery
placed together to produce an
assemblage, which would be
readily recognisable to broad
audience.
There followed a group
discussion, where at first there was a passive reaction to the original
representational images, with a conscious attention on technique and
likeness.
A more animated discussion followed in critiquing the assembled montages.
Introduction to K. Peeke 3000 word essay ‘ Deconstructing the components of
the human head, with a possibility of rearrangement or displaying in an unexpected
way. To find a communication narrative, which is assessable to a larger audience.’
26
The six segments are from portraits of: Ceri Richards, Sir Laurence Olivier,
Frank Leavis, Graham Sutherland, Julian Travelyan, Sir John Pope- Hennessy. Alan
Fletcher, (2001) ‘The Art of Looking Sideways’. London; Phaidon.
25
14
In summery, the outcome to this exercise
was interesting in the images produced and
the responses to them.
In some of the composites there were
recognisable elements to identification and
not necessarily the eyes. Although glasses
and their extra layer would not appear to be
noted as such, reinforcing the idea of a visual
editing. A
varying
strength of line was accepted within the
composition.
Subliminal indicators, such as the brow
and hairline in one was sufficient to
suggest a likeness to the Queen Elizabeth
further demonstrating the ‘coding’ we seek
in making sense of and identifying a face
All but one of the students chose the
traditional front viewpoint in their
compilations possibly to maximise the
number of elements of recognition.
Wishing to denote a three- dimensional
stance, this student chose one profile
element.
15
The strongest element overriding that of identification was when an emotive
element was introduced.
Arising from the discussion, was how the altered images differed from the
original sense of person and yet there was still a possibility of recognition.
As a group, there was a stronger connection and excitement to the
reassembled pieces than the originals before deconstruction.
Overall, an acknowledgement to the rationale behind my thesis, an altered
portrayal connects more profoundly.27
Conclusion
So how are we to define a face? As a coded map to recognition, a façade
protecting our true self from intrusion, or a set of physiological reactions to
other nuances?
Should we take it at face value or know it to be a result of learned
expectations?
27
Copyright of images: Israel Saeta Cabrera, Qian Lin, Peiying Zhou, Guoxin Fu,
Yadong Wu, Ana Luisa Menezes, and Banrou Xiao.
16
All these factors enter into how we present and perceive this, the expressive
and revealing canvas of who we are, or wish to be.
Whether it is a mirror or a mask, engagement in portrayal should
be
equally assigned to artist and viewer.
Appendices.
Appendix A
www.faceblind.org/research
6/11/2013 Bodamer's report (1947) He referred to their condition as prosopagnosia,
which he coined by combining the Greek word for face (prosopon) with the medical
term for recognition impairment (agnosia). Most of the cases of prosopagnosia that
have been documented have been due to brain damage suffered after maturity from
head trauma, stroke, and degenerative diseases.
In contrast, in cases of developmental prosopagnosia, the onset of prosopagnosia
occurred prior to developing normal face recognition abilities (adult levels of face
recognition are reached during teenage years).
Appendix B
http://www.spring.org.uk/2007/01/emotional-processing-in-autismspectrum.php
McIntosh et al. (2006) compared the automatic responses of a control group with
individuals with ASDs by using facial EMG to measure movement of the major
17
cheek and brow muscles. There were two phases to the experiment, in the first
participants simply watched a screen on which were displayed different pictures of
happy and sad faces. In the second, participants were asked to copy the expression
they saw in the picture.
The results showed that individuals with ASDs did not automatically mimic facial
expressions they saw in the pictures, as did the control group. On the other hand,
they had no problem imitating facial expression explicitly, indeed they were better at
imitation than the control group. McIntosh et al. (2006) argue that this fact rules out
alternative explanations of their results which include the individuals with ASDs
having problems in perceiving the faces, praxis, or understanding the task they were
carrying out.
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20
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21
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US Business Editor at The Economist; guest interviewer for Newswire.fm;
speaker through Leading Authorities
www.linkedin.com/today/post/article
Forget the self. Lets make 2013 he year of the unselfie
www.faceblind.org/research 6/11/201
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22