‘Untitled’, 2021

Acrylic on Canvas

40 x 50 cm

This work first draws the viewer in by presenting an interesting depiction of different perspectives of the same face, which has been distorted in the metal reflection of the tap. The piece is relatively simple, featuring a flat, one-colour background and a single tap in the foreground. Yet when looking at the painting closer, the impressive detail is revealed. The whole tap is constantly reflecting the room that it is in, at the same time as the person turning the tap on and each light beam that hits it, allowing for multiple colours to be reflected off the seemingly everyday object that is a silver tap. The piece has been painted using acrylic, and has been rendered in a realist style; that is, it has been painted to look how a tap reflecting a person and the room that it is in would look.   

Inspiration for this piece may have come from a number of artworks, however Maurits Cornelis Escher’s ‘Hand with Reflecting Sphere’ (1935), has a similar feel to this image. The work shows a sphere held in the hand of the artist, which reflects both him and the room around him, similar to Read’s, which shows them to be reflected along with the bathroom that they’re in.

The artwork relates to the title of the exhibition, ‘FACES OF ISOLATION”. Whilst all of the artworks in this were created during the coronavirus pandemic, this piece seems to show this period as a time of self-reflection perhaps when one is washing their hands - something which all of us have been doing constantly for the last 18 months. The image on the surface of a tap presents a distorted vision of ourselves, perhaps a visual metaphor for what we have all had to confront in the multiple lockdowns this country has been put through in the recent past.

Amelie Jalabert uses a creative way to stylise her series of photographs. She incorporates coloured string sewn through the paper to create interesting patterns, with the colours highlighting certain areas of the piece, as they contrast against the black and white of the photos. The composition of the piece draws the eye as many of the photographs’ subjects are off-centre, particularly the works including people. She puts a white powder on some of the subjects, which really shows up in the series of monochrome prints she has produced. Jalabert also uses objects such as glass jars and pots to add smaller, more interesting details to the pieces. 

Being in monochrome, the photographs might be said to create a melancholy atmosphere and confront the viewer with a sense of loneliness. These pieces complement the theme of ‘Faces of isolation’ as they link with the lonely, isolated figures present in some of the works. The piece also creates a narrative surrounding that of mental health and the way many people struggle with it: dark moods, lone figures, substance abuse, and scared faces.

‘Untitled’, 2021
Watercolour and mixed media on paper
76 x 56cm

This painting is a self-portrait of a girl who has dominating blue hair that is displayed in places as if it were the surface of water, possibly on an ocean. The sea in art is often interpreted as a place where one can easily feel isolated and here she looks very lost in her thoughts. The artist does appear very sad which perhaps is shown through the different shades of blue. Plus, she is laying down and her eyelids are heavy meaning she could be feeling unhappy or pensive. Blue has often been used in western art to symbolise sadness or loneliness as is the case in the work of Pablo Picasso at the start of the 1900s. 

The media used for this piece are watercolour paint and ink. The technique that she has used when painting with the watercolours is to create wide and prominent bands for her locks of hair and then in between sections, gracefully and delicately drawn lines in white ink to fill up the gap with one of the shades of blue. What drew me to the painting were the various blue hues as well as the amount of fine details in her face, for example, the curves and sharp edges that give the work a sense of realism.

This work features a series of six different black and white photographs including portraits, negative copies and layered images. It depicts several girls photographed within nature, in groups and full body layered images. By portraying only female models, the work is able to explore both femininity as well as natural beauty as seen in genuine real-life moments. Additionally, this can also be denoted though the use of understated make-up and clothes in addition to the simple yet impactful use of black and white. The images link to the theme of ‘Faces of Isolation’ as not only does it highlight individuals, which explicitly explores the theme of isolation but it also shows intimate moments, something that was limited and perhaps even lost during isolation.

As a result, this work is able to confront the viewer with a sense of what life was like before isolation and an optimistic outlook as to the moments we will be able to reclaim in the future. This is further seen through the use of monochrome, which gives the piece a timeless feel but also preserves this rapidly changing situation, as if it were a memory. 

The first thing that drew me to this work was its interesting use of light to create and sense of drama. The title refers to the classic paintings of Caravaggio and therefore mimics Caravaggio’s iconic contrasting light source. Claytons use of black as a background is not only reminiscent of Caravaggio but also helps focus the viewer on the scene and the figures in the painting. Up close the way the paint in lay onto the canvas is very contemporary and abstracted, however when standing further back the brush strokes seem to blend and recreate the blended quality of skin that was popular in Caravaggio’s time. An interesting quality borrowed from Caravaggio is the use of the figure holding a head which refers the allegory of David vs Goliath, a biblical story in the book of Samuel, this story is one of Caravaggio’s most referenced when looking at his paintings. 

This painting fits the theme of faces of isolation because it was produced at home while a pandemic swept through earth, the painting can also be interpreted aa a representation of humans aiming to defeat Covid-19. Clayton wants the viewer to be captivated by the dramatic and somewhat gory scene that he had painting and fir the viewer to find a sense of hope within the painting for better days after the “war” or “battle “ with this disease.

Amongst many artworks, this piece separates itself entirely due to the strange ideas it exhibits. Being a mask of a man’s head with horns, provides it with an immediate fantastical quality, perhaps referencing cuckolds written about in historical, mythological tales, which are often depicted as horned men. The mouth – alongside the horns being the most noticeable part – is constructed carefully to portray a crooked smile. This feature stands out furthermore due to the slight yellow tinting of the teeth, becoming the main feature on the unidentified creature’s face. Through reducing the visage to prioritise the toothy grin, the artist is inviting you to gaze upon the oddity of the sculpture, questioning the multiple ways this part-man, part-animal could be viewed. Accentuating this feature strengthens the impression that the teeth are significant, an oddity to which you are urged to pay attention. 

The overall physical qualities of the work are rough, imperfect and textured. The white paint used to cover the face allows each lump and dimple in its surface to be appreciated by the eye of the viewer. 

This painting is a portrait of a man created with a pointillist technique and a range of different colours. The mix of pastel colours and skin tones draws in the viewer because the brighter shades are unusually placed on and around the man’s face. The use of pointillism creates a blurred appearance to the artwork. Some features of the face, however, such as the eyes and mouth use continuous brushstrokes, which allows the face to still display distinct emotions. This painting is part of a series of four portraits of people’s faces looking off to the side, created using acrylic paint on acetate. 

This individual painting links to the theme of “Faces of Isolation” because of the emotions depicted. They give the viewer a sense that the man in the painting is exhausted by daily life, which some of society would have felt during the lockdown period. Other people could view this portrait as emotionless or numb, which was also felt throughout society during isolation. The fragmented style of the artwork could represent the split in society during the 2020 lockdown.