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Barkley L. Hendricks, Crosshairs Study, 2015. Oil and acrylic on canvas. 4 paintings, each 12 x 12 inches. Overall installed dimensions TBD. Â©Barkley L. Hendricks. Courtesy the artist and Jack Shainman Gallery.

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3 COLOR ZONES IN THE FACE - Ben Lustenhouwer

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3 COLOR ZONES IN THE FACE - Ben Lustenhouwer

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When painting a face you can see som e standard colors in the flesh tones. Usually.

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It's not that obvious and you have to look very well, old man for instance they have more obvious these colors,

0:16

women less, children less but always there is something to be seen. I'll show you more or less what

0:24

are the basics of these three zones of flesh colors in the face.

0:30

What colors are used for this example?

0:52

I start with making the three light colors for the forehead. A more yellowish one

0:59

so there is Ochre, White and a touch of Terra Rosa

1:15

and I make a string with White.

1:22

that's my color for the forehead

1:28

now I make a light color for the cheeks. There is more Red in, Terra Rosa and White.

1:41

also the white string.

1:49

For the third I prepare first a gray one. Ivory Black and Titanium White,

2:00

that makes the sort of gray but I know this has a bluish character.

2:10

The third one I start with Titanium White a little bit of Terra Rosa

2:19

and some of this gray.

2:24

You see: I hardly use any black in the shadows

2:31

but in the light zone for this demonstration I use this gray.

2:40

Now what I need is a shadow. Transparen Oxide Red , Viridean Green,

2:53

and a touch of Cadmium Red Deep to make it more reddish, warmer.

3:00

Shadows are warm. That's maybe too much red so a little bit of green extra and I can

3:10

start with the portrait. Right, I just make a portrait out of imagination,

3:19

more or less to explain what the three colors in the face look like.

3:25

I start with the shadow and here we go

3:33

The chin. Half of this size are the eyes,

3:42

From the eyebrow, the half and half is the end of the nose

3:49

and this zone the area is divided in 3/3.

3:55

Here were the eyes. the eye socket.

4:03

I start already with some shadow,

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It's only a simple explanation.

4:22

The shadow under the nose, a cast shadow under the nose.

4:38

This wrinkle here. Something of the mouth.

4:46

A shadow here.

5:07

And the ear of course.

5:17

Well with this information I start explaining the three colors.

5:24

First on the forehead and I said there is some ochre to be seen.

5:36

Why there is ochre? There is not so much blood over there.

5:53

Here the temple

6:08

Maybe a little bit more down. Now the red for the nose and the cheeks.

6:25

and you see I just simply block in the whole area.

6:32

I don't pay attention so much to a good likeness because I do this from memory.

6:43

Under the eyes

6:54

On the cheeks there is more blood. Remember if you come from outside in

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wintertime, this two zones are really red because of the blood over there.

7:07

Now. The third color is the grayish one, on the upper lip here.

7:21

Let's forget the whole lip. The chin

7:35

Here is more a combination of the three.

7:49

That's the starting point for the three basic colors on the face.

7:57

The ear ears never can be too red I always say so why not do it like this.

8:09

it's a very thin wash.

8:15

First I do again the deep shadows to get a sort of solid image and I start with the hair.

8:21

If you need black don't paint black. I give the men black hair

8:28

and black is Transparent Oxide Red (or Burnt Sienna) and Utramarine Blue.

8:36

It makes a beautiful black. if you add a touch of green it gets warmer.

8:53

and you see it's a dark, dark hair. A dark color. and no black.

9:00

And I try to make the darks always transparent because it's easy to add on top more contrast.

9:11

I'll tell you later: Darks are easier to make darker and lights

9:17

are easier to make lighter. So that's for the hair.

9:24

Well let me do the same accents for the eyebrow

9:30

more or less, I don't hang around so much here.

9:39

The receding plane towards the background is a shadow,

9:45

a warm shadow.

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3 COLOR ZONES IN THE FACE - Ben Lustenhouwer

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B&B - 2021 114x162cm Oil on Canvas

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Synopsis of summer school and a brief outline of my final ideas of 2024

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Synopsis of summer school and a brief outline of my final ideas of 2024

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I made some changes to the idea of my thesis, rewriting and recontextualising my themes to add in a psychological element and this works for the group that I will be interviewing,  i want to make sure im seeing people in that range of the development of prefrontal cortex and see how this changes the way that people talk about their intimacy and their relationships im not sure if there will be a big change in how people answer my questions or talk about intimacy but i have

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Factors influencing adolescent brain maturation.

Notes: Brain maturation is influenced by heredity and environment, prenatal and postnatal insult, nutritional status, sleep patterns, pharmacotherapy, and surgical interventions during early childhood. Furthermore, physical, mental, economic, and psychological stress; drug abuse (caffeine, nicotine, and ethanol); and sex hormones, including estrogen, progesterone, and testosterone influence the development and maturation of the adolescent brain. MRI studies have suggested that neurocircuitry and myelinogenesis remain under construction during adolescence because these events in the CNS depend on sex hormones that are specifically increased during puberty.

Abbreviations: CNS, central nervous system; MRI, magnetic resonance imaging.

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Taken a bit of a break over the weekend due to some personal issues, but now im back im going to talk about my process and some of the ideas im seeing and thinking of when making, and I guess more what I had planned, so last year I worked on loose fabrics and dresses. I found it difficult from a practical standpoint, so I started thinking of ways to recontextualise fabric and cotton in different forms. For instance, I have been looking at 100% cotton paper as that happy medium between fabrics and substrates, and a more practical painting surface, as well as I started to take some photos of my arms and hands for these paintings

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Just had a skim through the Egon Schiele and Gustav Kint books here's what I liked.

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Took some photos for this next painting im doing, which is based on this idea of sexuality and the intersection of my body, the use of the body, as well as looking at the explicit and the implicit nature of sexual identity.

This is the whole idea of using the body to describe an action associated with intimacy, and then using that part of the body to create the rendering adds this level of metaphysical idea of representation of time and the signifier with the sign itself.

Speaking to the symbolism itself of the two different types of fingering with the contention of people having their hands up as in an arrest and this idea of surrendering to an authority or an idea in this case to a system of governance that does not hold the same weight or care for queer thought.

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Poems about womens self love that im looking at 

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Poems about womens self love that im looking at 

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Phenomenal Woman by Maya Angelou

Pretty women wonder where my secret lies.
I’m not cute or built to suit a fashion model’s size
But when I start to tell them,
They think I’m telling lies.
I say,
It’s in the reach of my arms,
The span of my hips,
The stride of my step,
The curl of my lips.
I’m a woman
Phenomenally.
Phenomenal woman,
That’s me.
I walk into a room
Just as cool as you please,
And to a man,
The fellows stand or
Fall down on their knees.
Then they swarm around me,
A hive of honey bees.
I say,
It’s the fire in my eyes,
And the flash of my teeth,
The swing in my waist,
And the joy in my feet.
I’m a woman
Phenomenally.
Phenomenal woman,
That’s me.
Men themselves have wondered
What they see in me.
They try so much
But they can’t touch
My inner mystery.
When I try to show them,
They say they still can’t see.
I say,
It’s in the arch of my back,
The sun of my smile,
The ride of my breasts,
The grace of my style.
I’m a woman
Phenomenally.
Phenomenal woman,
That’s me.
Now you understand
Just why my head’s not bowed.
I don’t shout or jump about
Or have to talk real loud.
When you see me passing,
It ought to make you proud.
I say,
It’s in the click of my heels,
The bend of my hair,
the palm of my hand,
The need for my care.
’Cause I’m a woman
Phenomenally.
Phenomenal woman,
That’s me.

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Prepping for the paper and the start of  the rough painting

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Prepping for the paper and the start of  the rough painting

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The goal was to make sure the hands blended into the amorphous fleshy blobs that were previously made and I did this by being very careful and light with my pigment almost adding washes over and over to create outlines of the hands that I sketched but trying to make them soft and ethereal like.

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surrender power controll outline both hands

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this was all about understanding the point at which I should stop and what I think made this so effective was that I added details in a way that emphasized the form and shape of the hand without being a full render which was meant to give a ghostly quality to the work. while the rendered sections showed very clearly the depth of the hand and my painting style. This stylistic choice was also to show what is so important about fingering and how it materializes as a movement, while this imagery is static the movement in the physical realm is done by the movement of the formarm and having this less rendered also has a blur effect as if the image was on long exposer.

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surrender power controll left hand done 

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213.729 Fine Arts Research and Development Consent form for model/interviewee

Paige Leggett’s 2025 Dissertation: [intimacy/sexuality of queer bodies through painting]

Brief overview of the stated goal of this project

“Intimacy” is the term that is seen through two very different lenses in the English language. Intimacy is closeness or familiarity, and intimacy is a euphemism for the meaning of sexual or romantic relationships. I plan to express that these two definitions are not mutually exclusive, but often feed into each other in a queer space as well as tackling misnomers and harmful stereotypes of queer intimacy. as something to be challenged through queer couples and my own experiences. This study will explore Intimacy and sexuality through case studies of young queer people and their relationship with sex, romance and their partner/s and the radical space of self-expression through said intimacy. These case studies will be designed to express my own experiences and those of other couples and individuals. I will interview and account for their experiences through writings and thoughts painted to show the beauty and the radical history of queerness.

My work is inspired by the traditional radically queer artist of Egon Schiele, Hannah Roemer, Halie Torris other artists who express sexuality (primarily their own)

As by the nature of painting, I will explore a secondary subsect of intimacy, moving closer and slower to make detail and paying attention to each brush stroke made to create an emotional space in which performance through the act of painting can detail the emotional and physical states of said people's interviews and experiences.

My art in this project will be designed to challenge and fight the current rise in fascist thinking and erasure of queer peoples and couples in Western countries.  Highlighting their experiences as a space that can not be ignored, as well as honouring the divergence from hetero-normative sensibilities, the nuclear family and monogamy being the norm.

What would be expected of you as an interviewee?

The idea of what I'm looking for in interviews is to have a more open style discussion of your queerness and your positionality in the current society and modern life in a way that can be confronting, but ultimately the goal from me as an artist will be not to force you into ta ough conversation but to gain a new perspective on how other queer bodies/ people see intimacy and this will lead likely but not explicitly to conversation of sexual nature and please do be prepare for that.

This will all be voice recorded, and all voice recordings will be transcribed for my workbook for my research practice. You can decide if you would like to have these recordings done or if handwritten notes are more acceptable.

What will the next step after the interview be?

The next step after the interview will be a process of gathering your likeness either through photography or sketches, these renderings or captures may be covered or nude it depending on what is comfortable for you as the interviewee, but I may choose not to go further with your painting if there is no aesthetic link to queerness and body/ intimacy.  As an example of an image that is of my likeness, but not descriptive of me, but will help understand how a non-nude could be done in the context of this study

‘surrender, power, control” Paige leggett 2025

Another way this could be achieved is through other acts that show intimacy but are not sexual ie a kiss a hug or something of this nature, just to make it clear that nudity if you are comfortable with it could be an avenue for making for me, is not explicitly needed for this project, this project is more about understand and expressing queer love and the body, not just the form.

The goal would be to work with you to make you feel safe in your image being taken in whatever form that takes place, i.e. deleting of files after use/ secure file storage, i.e. a flash drive or in the cloud, and I will cooperate in any means necessary to your comfort.

Then these images would be used to create a painting of you or your likeness in some way relating to your interview and with your input being added in the making process for your ease of mind.

These works will be shown in critique in my art studio rupo and possibly exhibited in the future, with your consent on whether these works will be publicly exhibited, if exhibited the installation methods will be done in a way to preserve your mana. The goal of this project is to celebrate your queerness and your intimacy with others, and you will be given full right to choose to have this painting of your likeness be shown or not, and what context it is shown in.

Please tick: Yes/No

Yes/No  1     I agree to participate in this study under the conditions set out in the Information  Sheet

Yes/No  2     I would like to bring someone with me to the interview

Yes/No  3     I/we agree to the interview being sound recorded

Yes/No  4     I/we wish to have a copy of the recording

Yes/No  5     I/we wish to have a copy of the transcript to review

Yes/No  6     I/we understand that participation in this study is confidential and that although direct quotes may be used, names will be replaced by pseudonyms and there will be no material that could identify me/us or my family in any reports.

Yes/No   7 I/we wish to receive a summary of the results from the study

Declaration by Participant: I _______________________ [print full name] hereby consent to take part in this study.

Signature: _______________________

Date: ________________ If you have invited someone to join your interview as a

coparticipant: I _______________________ [print full name] hereby consent to take part in this study.

Signature: _______________________ Date: ________________ If you ticked ‘yes’ to

items, 4,5, and/or 7 please provide your contact details below:

Address: _______________________ Email: _______________________

Telephone: _______________________

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Interview conversation and general ideals form my first interview with____________

On the 13/03/2025

-The relationship of queer culture and its themes in association to myself

-The relationship of wider culture and themes to bisexuality

-The relationship of trauma, and intimacy

-labels

-ptsd and overthinking etc, “everywhere and nowhere at once”

Panic attacks

“Hiding behind yourself”

Hiding from one label to  another label

Interview one Alanah 13.03

Transcribed by TurboScribe.ai. Go Unlimited to remove this message.

Sweet. Alright, cool. So, with the forms and everything, we're keen, we're happy, we're cool.

So, this project is my 2025 dissertation looking at queerness and the body and sexuality of queer bodies and queer people. Perfect. Would you like to introduce yourself for the record? Yeah, so I'm Alana Rind.

I'm studying at Vic, doing my Masters as well. I'm 22. Yeah? Any pronouns, anything you want to put forward? Oh, just she, her.

Nothing really to put forward, I don't think. Lovely. Yeah.

And how would you self-identify? Like, how do you fit into this project that is beneficial for, like, I guess, my audiences? Pardon? With my audiences. Like, how would you identify within this project? Yeah, so I'm bisexual as well, and throughout, like, the last, maybe it was like two years, year and a half or something, you really struggled with, like, gender identity, but I'm firm on that now again, so that's fine. Would you want to talk on that? I can, if you want.

Well, this is an open discussion. I'm definitely not taking this as written questions. It's more just having a korero and making it through a conversation.

Yeah. Yeah. Yeah, so, yeah, I'd say it was like probably two years ago.

I was just kind of like, I don't even know what it was. You're also welcome to have some chocolate if you want. Oh, thank you.

Yeah, I don't know really what it was. It was just something that popped up in the front of my head, but I think I was just struggling with identity as a person in general, rather than just it being a gender identity thing. And so for a while, I was not really saying I was non-binary, but I was just going by she, they, just to kind of like test the waters a little bit.

And I was like comfortable with that and everything. I still am. I really don't care what people want to, like, what pronouns people want to call me.

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Speaker 1 (00:00)

Opposition or from strapping me to the factors into the top, identified previous personneous as a tattoo might stronger if that mark wasn't there, but I'm kissing up herself the meaning of consult.

Speaker 2 (00:47)

I mean, I was sort of big day about that, and so that you need choices we make to adapt or transform our body is pure spirit and I think is sometimes purity words so shrouded and that money Sam, I don't know, I don't know, I think it's adorned in heavy. Or how we choose to leak

Speaker 1 (01:36)

Wasn't even if you just know you feel electronic value and dengue, part of this kind of Hollywood skin?

Speaker 1 (01:57)

Robert later stories, but ending up the running is something they didn't know that I think I'm just as humans.

Speaker 2 (03:02)

When you've removed the friends, we are undone, yeah, I would bound.

Speaker 1 (03:54)

Yeah.

Speaker 2 (05:05)

What of the bookwors altered with a chain and a padlock to the painting? You know, like how like what other bombs you know, because I think sometimes it's hard to break through the binary lives and wall and stuff. But we can literally do whatever is it rude here or a strand of a wig like biding the book or something, but like Is it about keeping it safe or giving away a piece?

Speaker 2 (05:34)

How do we demonstrate a fragment. but I think it's so generous of the people? I totally agree, it could be acknowledged the collaboration there if you wanted to do that layer, meaning this story being like the breath to you direction in another way, I like happily.

Speaker 2 (05:53)

They have so much personality and answers to you, and I think I don't know something that was Russian mate, so we're going against Richard scribe, but I'm late more.

Speaker 2 (06:44)

There's such different comes as well, like you've made really fairer that comes to move treaty between focal there, but that's one is how much events solemn. You know that my emaic is there something I guess like your name, daddy Dom surrender, power control and something so like and I kind of love that dynamic, as things accumulate of kind of blurring, the lines between like You know, we can f*** like that, but it feels like this kind of thing. And I think that will even bring forth some of those queer narratives, what's where once there's a community of these stories in a space.

Speaker 1 (07:26)

The biggest dangerous the words that was me feelings about myself. This one I started making books. Are you right now like?

Speaker 2 (08:10)

Parently

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This class was majorly beneficial to my process and reshaping my thinking around my art process, how and what I create, and how I think about my creative process. Each lecture offered both a design as well as a new artistic lens I hadn't seen, and a space of decompression from what Third year was for me. Third year was undoubtedly the most I have struggled in an artist space and this is mainly due to my own doing and not realising that I was overworking myself in other areas of my life, which hindered my process and stopped me from just creating. While in this course, the goal was just a body of work and wasn’t focused on a goal or some grand idea to achieve through my art, and this realisation led me to create some of the best work I have done, taking a more simplistic topic and using the said topic as an expansion spot. This led to the natural development of my art, and this made me better at it.

So this is where I am going with my current project this year, where I am gonna simplify my concept and run with where it goes.

This is where I got the idea to simplify my concept and I landed on

“Intimacy/sexuality of couples through painting”

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Art though converstion and where does my practice begin and end

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Art though converstion and where does my practice begin and end

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Theory in Contemporary Art Since 1985 Edited by Zoya Kucor and Simon Leung Blackwell, 2005

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Just a a look at some contemporary painters working in poneke and seeing how they approach painting in the modern day

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This interview with Natalia was really

speaking to me and special I got to get a abit understanding and depth of sometimes I would call a friend and she really did speak kn seem very interesting spaces as a queer artist and how opening yourself up is honestly incredible hard. Finding her first queer crush and etc was something I saw as very special and deep and I hold her interview with alot of care as I have started to think about my practice more along the lines of what is considered practice and what is considered that every day . I have been thinking about how conversation in itself is practice and in the spaces we make for creation can be almost metaphysical in that the creation process Especially in this series is all about moving everyday storied of queer peoples and elevating them to a pace of importance-not only beacuse they are important stories to tell but also to highlight human intimacy and experience.

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First we set up a photo shoot in the dark room 

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First we set up a photo shoot in the dark room 

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The idea was basically gonna few of the comments from the interview i was thinking of doing a painting associated with the idea with "being everywhere and nowhere at once" and also the "braking outside of the societally imposed box"

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So the start of my existential crisis with this kind of artwork that I'm making in this practice that I'm having is I'm trying to start thinking about what is practice and what is not. It's not practise. I'm trying to think about the ways that I speak and how I talk to people, and how they're talking in general is part of my practise and kind of part of my workbook practise. So you're going to try it, you're going to see a little more video now, voice notes and like conversations that I have with people just in general Three. Yeah, because I had a conversation with a friend of a friend, and we started talking about my practice and what I've been doing. This was Wednesday night, and we started speaking about What is and is not art and how do we decolonize the space? The storytelling. How do we decolonize the space through visual media through text-based lenses? This kind of whole conversation has started making me think about my process as a multi-media process. Thinking about my Ideas is something to be conveyed through a multitude of ways. giving multiple small parts of a story without giving away the whole gives the space of intimacy, while still allowing people to have a dialogue with the work that I make.

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So what I have been thinking about with this little rant I have been having with myself is all about where to go from here and what living my life as practice entails. So far, what I have come up with is that living through a practice-based lens when telling stories, as I do, is to make sure that the subject has consent and is in constant communication with my process, and I have been thinking about how to achieve that. Currently, what I have in my head is that I will be audio recording my interviews, and these recordings are going to be made available to the subject with any transcripts and drafts of paintings/ drawings

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Brassica Nigra
Mixed Media on canvas
2020
🟡
Faith of a mustard Seed. Mountain will move. Seed already been planted by hands you thought you severed
🟡
In the Interest of Action🟡
November 09 - February 19 2021
Center Gallery
Marjorie Barrick Museum of Art, University of Nevada, Las Vegas
🟡
An exploration of diasporic systems of knowledge and their uses as tools for liberation

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The memories of ghosts. the museum of americana: A LITERARY REVIEW. (2023, October 14). https://themuseumofamericana.net/the-memories-of-ghosts/ 

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The memories of ghosts. the museum of americana: A LITERARY REVIEW. (2023, October 14). https://themuseumofamericana.net/the-memories-of-ghosts/ 

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Lance Ifáṣọlá Smith

My work is an exploration of the intersection between the past and the present, utilizing ancestral technology to create contemporary pieces. Through the use of natural materials and traditional techniques, I seek to honor and preserve cultural heritage while also pushing the boundaries of what is possible. My goal is to create art that is both visually stunning and deeply meaningful, inviting viewers to reflect on their own connection to history and tradition.

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Gluing things together for the frame for the work I just did with the idea of the paper still showing raw edges and having this conversation of raw edges, and raw pine and this idea of nudity and the relationship of rawness, intimacy, nudity and openness

I created a very simple and homemade style, speaking to the ideas of demomestic

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Francis Bacon, Three Studies for Portrait of Lucian Freud, 1964. Oil on canvas, in three parts, each: 14 x 12 in. Estimate: $30,000,000–40,000,000

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Francis Bacon)                                McGee, Bobby. “The Enduring Influence of Egon Schiele.” Sothebys.Com, 15 Nov. 2022, www.sothebys.com/en/articles/the-enduring-influence-of-egon-schiele.       

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Francis Bacon)                                McGee, Bobby. “The Enduring Influence of Egon Schiele.” Sothebys.Com, 15 Nov. 2022, www.sothebys.com/en/articles/the-enduring-influence-of-egon-schiele.       

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Francis Bacon’s pantheon of images is considered among art history’s greatest achievements. Visceral, enigmatic, haunting – his searingly personal portraits cut to the psychological core of his subjects. Bacon, like Schiele, painted a close circle of friends, reserving the iconic 14-by-12-inch canvas that formed his triptychs for these favored subjects, like in Three Studies for Portrait of Lucian Freud, 1964.

Both artists laid bare the interiority of the figure they depicted: Bacon’s primal images excavating the deepest complexities of the human psyche; Schiele investigating his characters’ unconscious psychology and emotion, often through frank sexuality. Distorting their figures to often unsettling effect became the ironic means to reveal their truest essence.

Schiele and Bacon also turned to self-portraiture as a way of expressing their own inner nature. Selbstbildnis (Self-portrait), completed in 1910, the year Schiele fearlessly pushed his self-fashioning to reveal new, intense sides of himself, readily aligns him to Bacon’s raw and intensely scrutinizing self-images.

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Five main points form my second critique,

1. The titles and the space that holds and whether they are necessary

The comments around the space of my titles were that they were kind of unnecessary because I had the printer materials that had the titles on them as well. People started speaking about how it could just be printed books by the side. And it doesn't need to be more than that. , but especially because of the titles, it was also my name, which kind of led to some confusion on whether this was self-portraiture or not. I think it's kind of a good thing to think about, and testing out titles like that kind of gave me some Good things to think about, and I think I'm going to remove titles and kind of continue this idea of what is considered too much and what is not considered enough.

2. The relationship of printed material to the paintings, how this speaks to the person originally, and how it can change the perspective.

One thing that I got a lot of positive feedback on was the printed material that was put beside the paintings, which added a little bit more context but not too much. So people could still form their own opinions about the stories and about the person and the kind of representation i was speaking about, I feel because my process is because my practise is so story driven, I felt that it has to be an element that I put all a care into aswell as using other art forms as like poetry, composing and photography in that space. Kind of allows this project to become a multimedia project, and people felt that when they'd go up to the little booklets to take them off the strings attached the the painting, they'd be right up close to the painting, which isn't the conventional way to view paintings. They are forced to be intimate with the painting of that person in a new way.  So, thinking where I'm going forward with this is probably to make the books a little bit more intentional, a little bit more loved, and a bit more cared for, adding a bit more attention to the care put into these narratives. I think a lot of the benefits from the printed material will be even emphasised by spending time making enhanced stitched books, etc.

3. The nature of telling these stories and why someone would do that and how the context can shift when more stories are added

So one thing i was told to think about is the space or potetntal issues that could arise from showing multiple people really personal stoires around each other and how this could lead to readings that may not benefit each persons story and to think about the curatorial process that will lead to what stories i show and what i dont show based on my own biases and also biased on who my friends are and what relationships do i show and what do i show and i think, this challenged me to think about what queer story telling is and what it dymanics exist in my work and what benefit there is to my substrate and medium.

4. Technical painting skills, benefits and improvements

I had a few people point out some technical issues, and also just thinking about working on how to render tattoos and wether or not the tattoo was distracting or if the tattoo was needed and needs to be more in your face as queer culture often thinks about tattoos as a representation of themself and shows whats important to a person. I think I'll just be rendering a bit of my work more and looking at the space that I need to give myself to practice my skill, ie sketching more etc.

5. How much do I centre myself and my relationships with these people or not, and what space do they hold as collaborators in art?

This question was back on about the titles in particular putting my name on these works and does this remove from the space of these peoples storie and how do I see myself either as a colrabator or as a maker. What space do I sit in, and how do I position myself?

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LondonElizabeth Peyton, Two women (after Courbet), 2016oil on board 36.5 x 28.8 x 2.6 cm / 14 3⁄8 x 11 3⁄8 x 1 inCopyright Elizabeth Peyton, courtesy Sadie Coles HQ, London

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“Interview with Elizabeth Peyton.” The White Review, www.thewhitereview.org/feature/interview-elizabeth-peyton/. Accessed 14 Mar. 2025. 

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“Interview with Elizabeth Peyton.” The White Review, www.thewhitereview.org/feature/interview-elizabeth-peyton/. Accessed 14 Mar. 2025. 

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This interview with Elizabeth Peyton, one of the most celebrated painters of recent times, was conducted by Nicholas Cullinan, Director of London’s National Portrait Gallery. The two met in 2014 when Cullinan was planning his current exhibition at The Metropolitan Museum of Art, Unfinished: Thoughts Left Visible, which included works by Peyton. The art historian first sat for the artist (at her invitation) the same year. If further reasons for inviting the two to talk were needed, we would point to the breadth of their shared interests beyond portraiture: as a curator at The Metropolitan Museum of Art in New York and Tate Modern in London, Cullinan worked on exhibitions by such diverse artists as Tacita Dean, Henri Matisse, Kazimir Malevich, Cy Twombly and Amie Siegel; Peyton’s recent exhibition at Sadie Coles HQ, London, featured still lifes, landscapes, portraits and homages to canonical painting alongside linocuts.

The pairing also seems appropriate to Peyton’s practice, which combines exceptional technical ability with a sensibility predicated on a sincere emotional connection to her subjects. Her recent work has foregrounded the artist’s deep engagement with the history of painting, with inspiration from (and allusions to) Manet, Sargent and Moreau, and seen her practice expand to include pastels and a variety of printing techniques. Her portraits, which have included artists, musicians, and literary, historical and cultural figures, among others, negotiate a delicate line between fidelity to life and self-expression.

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I would say that this work is 'finished' it may or may not change whether or not I want there to be more signifiers of myself and showing that these arms are me, I also am thinking about how this work could be better related to me, and did I or di into show the space of queer feminine experinace of feminity and sex though fingering and my experience in that space.

Originally, I was thinking about how there is such a relationship of putting your hands up, surrendering to the powers that be. Surrendering to a partner in a sexual context. and this space of what self-pleasure is.

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Just did some little practice sketches for my form, and just general drawing practice

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Practice drawing figures, animals, landscapes and more

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some super quick sketches of the idea given to Alanah 

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some super quick sketches of the idea given to Alanah 

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second sketch of an idea

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“The poster, that’s all there is!”

Henri de Toulouse-Lautrec

During his brief artistic career, Henri de Toulouse-Lautrec captured the lively and often sordid atmosphere of Montmartre’s late 19th-century dance halls, cabarets, and theaters. Recording the performances he viewed and the establishments he visited on a nightly basis, he functioned as artist and narrator: his paintings, drawings, prints, and posters expose the complexities of the quickly changing age in which he lived. Between 1890 and 1900, Paris saw tremendous growth in its nightlife scene, with nearly 300 café-concerts serving women and men who drank, smoked, and fraternized in ways previously unpermitted to them in public. In such prominent clubs as the Moulin Rouge and less reputable institutions like the Moulin de la Galette, aristocrats often rubbed shoulders with the working class. It was within these establishments that Lautrec found the subjects he would voraciously document over the next decade.

Despite descending from three lines of aristocracy, Lautrec derived artistic inspiration from the people he lived among in Montmartre’s working-class neighborhood, including prostitutes, singers, and fellow artists. In La Goulue at the Moulin Rouge (1891–92), he depicts Louise Weber, a cancan dancer nicknamed, “The Glutton,” linking arms with two women at the Moulin Rouge. In her confident gaze, Lautrec captures the unabashed brazenness of female performers in modern café life. In other paintings, he portrayed tired prostitutes queuing for mandated health checks. Together, these works amount to a snapshot of the dramatically shifting gender and class relations in Paris at the turn of the century.

Lautrec chronicled his era largely through printmaking—something few other artists had attempted to do in this medium. From 1891 until his death in 1901, he produced nearly 350 lithographic posters, editioned portfolios, and illustrations for journals and theater programs recounting life in Belle Époque Paris. The rise of color lithography in 1891 ushered in a new form of printmaking, and Lautrec found great success in this medium. This process allowed him to print large posters in color, including Divan Japonais, and he soon began experimenting with fresh applications, among them crachis, a technique that creates a splatter effect. In a letter to his mother, he remarked, “I have just invented a new process that can bring me quite a bit of money. Only I have to do it all myself….My experiments are going awfully well.”¹

Lautrec also created advertisements, many of which hung in Paris’s streets and public squares, promoting upcoming musical and dance performances. One of his preferred clubs was Le Mirliton. The venue’s owner, Aristide Bruant, commissioned the artist to produce a number of posters in 1893, including Aristide Bruant in His Cabaret (Aristide Bruant dans son cabaret) and Aristide Bruant. Lautrec’s first and most well-known poster—Moulin Rouge, La Goulue—depicts the animated dance hall in the Moulin Rouge. Spending many evenings at this famed establishment, the artist entertained a close relationship with the venue and its owners, who, at one point, hung his painting of a circus in the entry hall. This poster, one of more than 200 of his printed works in MoMA’s collection, epitomizes Lautrec’s representation of the places he visited and the company he kept during his daily life in 19th-century Montmartre.

Note: Opening quote is from the artist, as quoted in Henri de Toulouse-Lautrec and Sarah J. S. Suzuki, The Paris of Toulouse-Lautrec : Prints and Posters from The Museum of Modern Art (New York: The Museum Of Modern Art, 2014), p. 12.

Emily Cushman, Collection Specialist, Department of Drawings and Prints, 2016

1. Lautrec letter to his mother, Paris, November 1893 letter 168, in Lucien Goldschmidt and Herbert D. Schimmel, eds. Unpublished Correspondence of Henri de Toulouse-Lautrec. London: Phaidon, 1969, p. 164.

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Starr Figura, Isabelle Cahn, Phillipe Peltier, 2020

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Carmen Winant: Feminism Through Archival Imagery

Carmen Winant is a key figure in art, using archival imagery to explore and challenge societal perceptions of women's experiences. Her work creates powerful narratives centered on the female body, offering a feminist reimagining of history and personal experience.

Winant's journey into photography began in high school, where she developed a fascination with images. Initially focusing on original photography, she eventually shifted to recontextualizing existing photos, a move that allowed her to delve deeper into feminist themes. Her creative process is notably chaotic, reflecting a dynamic and intuitive approach that echoes her teenage years of layering images on her walls.

Her beliefs are deeply embedded in her art. Influenced by her mother and her own background as a competitive long-distance runner, Winant views feminism as an intrinsic part of her identity. She aligns herself with radical feminism, which critiques the compatibility of patriarchy and capitalism with feminist ideals.

Winant’s work involves sourcing materials from various places, including bookstores, online platforms, and institutional archives. This method has evolved, especially as she balances her roles as an artist and a mother. Her projects often require building relationships with organizations, such as feminist groups and clinics, adding a collaborative and socially engaged dimension to her art.

Collaboration is central to Winant’s practice. She works closely with curators and peers, fostering a collective process that enhances the depth and reach of her work. Her installations and artist books are the result of these rich exchanges.

Mentorship has also played a crucial role in her development. Catherine Opie, a professor at UCLA, was a significant influence, helping Winant shape her approach to art. Projects like "My Birth" have been pivotal in her career, marking turning points that expanded her understanding of her practice.

Carmen Winant’s contributions to art lie in her ability to reframe and reinterpret women's experiences through archival imagery. Her work invites viewers to engage with feminist narratives, challenging and expanding their perspectives on history and identity.

Artist's artwork:

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Carmen Winant: Feminism Through Archival Imagery | BØWIE Creators — Home of Queer & Feminist Creators

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Carmen Winant is a key figure in art, using archival imagery to explore and challenge societal perceptions of women’s experiences. Her work creates powerful narratives centered on the female body, offering a feminist reimagining of history and personal experience.

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Romancing Dystopia: Letting things fall apart” l mix media on canvas l 68” x 38” l Khara Oxier-Mori.

Khara’s work confronts us with the sheer force of human emotion. The will to power, the will to love, the will to happiness - but despite our drive to fully manifest our loves, our hopes and ambitions by the sheer force and intensity of our desires we too often exhaust ourselves and are resigned to letting go. Romancing Dystopia: Letting things fall apart, a painting by Khara Oxier-Mori.

GB Gallery, art for life’s journey.

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The final assessment of Third year was incredibly difficult for me I found that throughout my process I was getting tripped up on the practical skills and taking the time to understand my work and process better so part of this year will be regularly working on taking online figure sketching and tutorials in my time at uni I also was struggling with engaging with work that talked about and to art I saw so I will be making a regular point to go out to galleries and to write reviews that will go in my workbook all and all I need to acknowledge that my work-life balance and university balance was horrible and on a personal note I have been working on that. So just addressing my shortcomings last year can remind me of how to go about navigating this year.  Some of these goals will be about asking myself questions and attempting to answer them in different ways, thinking about my questions as research and taking time to pace myself in the amount of work I do. As well as trying to make an effort to do 30mins-60mins each day on workbook and researching there, I ended with the final idea of looking at clothes, clothes, as well as the body and my body, sexuality and expression of, said sexuality.

Where I took this further was through exploring process in summer school

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Untitled l oil on canvas l 100 x 100 cm l P. X. Miranda.

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Untitled l oil on canvas l 100 x 100 cm l P. X. Miranda.

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GB Gallery, art for life’s journey.

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Queer Embodiment and Semiotics: Reclamation in LGBTQ+ Adult Community by Designing and Wearing Temporary Tattoos

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Queer Embodiment and Semiotics: Reclamation in LGBTQ+ Adult Community by Designing and Wearing Temporary Tattoos

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"With art therapy being often grounded in the process of being witnessed, this field has much to offer to queer folks looking to achieve a sense of visibility. My focus in this community-based capstone project is to explore how LGBTQ+ adults are able to utilize creative arts therapy as it relates to cultivating connection, affirmation, and visibility—to our community, our bodies, and our stories. Literature Review When looking into existing research in the area of queerness and tattooing, it became evident that many peer-reviewed studies were conducted for purposes that did not encompass the entirety of my interests. Some studies that intersected with my inquiry addressed the perception of folks with tattoos, factors in displaying queerness, the history of LGBTQ+ semiotics, and how physical modification affects self-esteem. This review provides an abundant focus on LGBTQ+ adults, queer visibility, and queer symbols throughout history, as well as insights from selfidentified trauma-informed queer tattoo artists. This review aims to establish a base of research that bridges existing literature that delves into queerness, tattoos, and art therapy"

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Queer Embodiment and Semiotics_ Reclamation in LGBTQ+ Adult Commu

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CARABINERS AND VIOLET TATTOOSThe Desire for Nostalgia in Online Lesbian SpaceEleanor Medhurst DOI:  10.4324/9781003396000-1310.4324/9781003396000-13

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CARABINERS AND VIOLET TATTOOSThe Desire for Nostalgia in Online Lesbian SpaceEleanor Medhurst DOI:  10.4324/9781003396000-1310.4324/9781003396000-13

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"A specific pride flag might hang in the background of an online video, or spelled out in its caption in pink, white, and orange emojis (the palette of the current most popular lesbian flag). Yet there is a desire, particularly among the younger generation of lesbians online, to connect with their history on a more physical and material level. There is a desire to know lesbian codes and symbols from the past and adorn their own bodies with them, bringing them back to life."

"In the musical Fun Home, an entire number is devoted to the carabiner or belt-side keyring, the song in question aptly titled Ring of Keys. It was inspired by a moment in Bechdel’s memoir which took place in the 1960s, where a young Bechdel spots a butch woman with a short haircut, lace-up boots, and a ‘ring of keys’ and sees her own self reflected back. The lyrics to Ring of Keys ooze desire for a certain lesbian way of being, an earlier iteration of the TikTok user who always feels ‘giddy’ upon clasping a carabiner to their belt loop. The lyrics to the chorus, written by playwright Lisa Kron, are as follows: Your swagger and your bearing And the just right clothes you're wearing Your short hair and your dungarees And your lace up boots And your keys, oh Your ring of keys. (Kron 2015) Whether a carabiner or a ring of keys, the keyring has endured throughout the decades by being recognised and wanted by lesbians. It is simple and useful; it is persistent. The carabiner, however, is far from the only lesbian accessory that is thriving in the early 2020s."

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Statement

Originally from the San Francisco Bay Area, now currently living in Los Angeles.

My art is about humanity. Portraiture has traditionally been symbolic of wealth, status, and power, but my work focuses on deconstructing portraiture to a universal relationship between viewers and subjects. Taking elements from multiple references combining them to a human form the portraits transcend boundaries and identifiers allowing a universal human level of significance.

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Marina - 2021 81x116cm Oil on Canvas

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Beyza - 2018 112x70cm Oil on Canvas

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Beyza - 2022 46x55cm Oil on Canvas

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adding text to a work is always a hit or a miss it could be something as simple as a tilte chaning the meaning of the whole work but i have to debate the ideas i have had for 3 years now on adding text and how much can be added to a wokr with out contolling how people will see the works.

Poems and poetry are something I have always worked on for myself, and this work has been something to connect and ground myself, as I am a deep-feeler, and poems are how I connect and show intimacy with myself This is why I this this could be a really good move but this requires me to be increbly vuniable and my work always is but like this would be puttting my heart out there for people to see and to jugde.

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Jacqueline. 24”x21”. By Charles Reid.Private Collection.

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Jacqueline. 24”x21”. By Charles Reid.Private Collection.

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Egon Schiele (Austrian, 1890-1918)

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Romy Elliott

Wool on wool

Spring Lamb

30x40cm

oil on canvas

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30x40cm

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Charcoal studies. Helpful for gesture and composition