Figural Artists of Note

Bethan Hamilton.

Image from WeAreOCA, October 2016.

Today I read the interview written up as In conversation with Bethan Hamilton by Joanne, 20 September WeAreOCA. As I contemplate the nature of this final section of Drawing 1, I am seeking inspiration and direction for my continued practice. One path I am considering is to continue to explore portraiture; maybe self-portraiture in particular. According to Bethan Hamilton, “self portraits grant you a lot more freedom than portraits do”
What inspired me about reading the interview with Bethan Hamilton is that she takes everyday occasions, like eating a bowl of spaghetti and turns it into a quirky and intriguing pencil sketch. She also harps on break the stereotypic feminine body image that is portrayed in the media, by deliberately sourcing images of people with obesity problems.

One portrait series that appeals to me is her Splosh Series in which she obstructs part of her face with flowing liquid. I really find it appealing when a contrast of this nature break up the regular appearance of the image, adding intrigue to the image.

Cyclists. Vasko Lipovac.

Another artist who focusses on rather obese figural forms, and who recently was on exhibition in Cetnje, Montenegro, is Vasko Lipovac. Lipovac's work might appear whimsical and humorous, but he desires to mirror the “numerous social changes he witnessed”, and provide ‘critique of the people and circumstances which made him feel indirectly responsible and prompted him to at least try to draw attention to certain injustices” that he is unable to change personally. (Montenegrin Art Gallery Miodrag Dado Duric, October 2016, p. 20) After a period of working with dark colours and abstraction he returned to figural works. He was fascinated with the role of “sculpture in public space through the introduction of new materials – plastic, concrete, stainless steel, aluminum, asbestos”, which allowed for “modular solutions in public spaces”. (Montenegrin Art Gallery Miodrag Dado Duric, October 2016, p. 23) His intent was to encourage people to commune with space as he felt that this would make them better people. He would often corroborate with architects in designing living spaces.

He became fascinated by the muscular form of athletes competing in varying physical activities from cycling, swimming, rowing, gymnastics etc. He depersonalized their forms to create harmonious balanced proportions which he executed in paintings, wooden sculptures and highly reflective polished brass sculptures in which the viewer can view their own mirrored image. His Cyclist series was featured as part of the exhibition celebrating the 100th anniversary of cycling in the world at the Split Waterfront in Lausanne, 2000, Olympic Museum, as well as part of exhibitions at the commencement of the Tour de France, 2014. (Montenegrin Art Gallery Miodrag Dado Duric, October 2016, p. 24) Like the figures in The Burghers of Calais, each figure in the sculpture seems intent on completing a race which they are not physically or emotionally prepared for. Their rotund physiques indicate that they are not the supremely refined forms of seriously committed cyclists. “Serious and reticent, they focused upon the track in front of them, as if saying: it won’t be easy to win the race, but let me be noticed at least.” (Montenegrin Art Gallery Miodrag Dado Duric, October 2016, p. 25)

His figures are a blend of the appearance of naïve folk art in their negation of academic bodily proportions. This leaves them more intriguing and mystifying at the same time. One wants to ask questions as to why he chose to portray figures in this manner. “My works are mild erotica. Erotica is something that attracts humans, if they are normal. Both when they are young, and when they are 75 or 85…” (quoted in Montenegrin Art Gallery Miodrag Dado Duric, October 2016, p.27)
He is known to have used color as an escapism from the bleakness of the Balkans during this period. He often used primary colors; with a blue reminiscent of Klein’s blue. This represented for him “truth, wisdom, peace, contemplation, the unity of the sky and the sea, the colour of infinite space, which is vast and can contain everything.” (quoted in Montenegrin Art Gallery Miodrag Dado Duric, October 2016, p.29)

His art is reminiscent of the ironical and intriguing simplicity of forms of works such as Alexander Calder and Joan Miró. However, he endeavors to imbue his work with the “vibrant urban fabric of a typical Mediterranean everyday life.” (Montenegrin Art Gallery Miodrag Dado Duric, October 2016, p. 64) 

Works Cited

Montenegrin Art Gallery Miodrag Dado Duric, October 2016. Lipovac. Cetnje: National Museum of Montenegro.

WeAreOCA, 20 September, 2016. In conversation with Bethan Hamilton by Joanne.