Difference between revisions of "Hyperrealistic Exhibit"
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[[File:salmon_shattered.jpg|250px|Shattered]] | [[File:salmon_shattered.jpg|250px|Shattered]] | ||
| − | ''' | + | '''Woman and Child, Sam Jinks''' |
| − | + | 2010, Silicone, pigment, resin, human hair | |
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| − | + | ''This work depicts a woman near the end of her life, lovingly cradling a child near the beginning of theirs. The aged woman’s eyes are closed, her head bowed, expression difficult to read. Is that regret? A promise? A moment of comfort? The baby stares off with aggressive curiosity, brow furrowed, mouth puckered, their little body otherwise lying content against the older woman.'' | |
[[File:jinks_woman_and_child.jpg|250px|Woman and Child]][[File:jinks_woman_and_child2.jpg|250px|Woman and Child2]] | [[File:jinks_woman_and_child.jpg|250px|Woman and Child]][[File:jinks_woman_and_child2.jpg|250px|Woman and Child2]] | ||
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''Beauty and goodness, And Grief and pity, alive in the dead marble, Do not, as you do, weep so loudly, Lest before time he should awake form death, In spite of himself...’. Giovan Battista Strozzi il Vecchio's poem on Michelangelo’s Pietà at St Peter’s Basilica | ''Beauty and goodness, And Grief and pity, alive in the dead marble, Do not, as you do, weep so loudly, Lest before time he should awake form death, In spite of himself...’. Giovan Battista Strozzi il Vecchio's poem on Michelangelo’s Pietà at St Peter’s Basilica | ||
| − | This work alludes to the Western religious art 'Pietà', also called a ‘lamentation’, normally an image of the Virgin Mary cradling the dead body of Christ. Here, the artist's references the Buddhist meditation practice of visualising the decay of one’s own body as a means of bringing the mind to terms with the body’s inevitable end, contemplating the limits of humanism and secularism. | + | ''This work alludes to the Western religious art 'Pietà', also called a ‘lamentation’, normally an image of the Virgin Mary cradling the dead body of Christ. Here, the artist's references the Buddhist meditation practice of visualising the decay of one’s own body as a means of bringing the mind to terms with the body’s inevitable end, contemplating the limits of humanism and secularism.'' |
[[File:jinks_pieta.jpg|550px|Pieta]] | [[File:jinks_pieta.jpg|550px|Pieta]] | ||
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2010, Acrylic on Canvas | 2010, Acrylic on Canvas | ||
| − | '' | + | ''This painting stages an alternate reality, the illusion of verisimilitude on the painted surface. |
| + | The painting renders a photo-realistic marble resting on a colourful background — photo-realistic, yet those with a discerning eye will note the artist has also created an illusion of depth, volume, and a sense of presence not found in photographs.'' | ||
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2016, Acrylic on Canvas | 2016, Acrylic on Canvas | ||
| − | '' | + | ''This work depicts a masterful rendition of eight photo-realistically painted glass vessels of different size and shape standing against a scintillating city skyline at night. This study in visual deception explores the relationship of light with reflective and transparent surfaces. Those with heightened senses should be particularly impressed — the artist’s dedication to their craft is executed with such stunning precision, one might wonder if their gifts are truly natural.'' |
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[[File:Eight.jpg|650px|Eight]] | [[File:Eight.jpg|650px|Eight]] | ||
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2016, Blue BIC pen on paper | 2016, Blue BIC pen on paper | ||
| − | '' | + | ''This piece is part of a collection described as ‘sex and violence reproduced in detail with a ballpoint pen’. The artist claims to tell the story of heartbreak in relationships, by rendering photos he has taken into hyperrealistic images using the ubiquitous blue ballpoint. This work shows a blonde woman cradling her head, lying disrobed and prone in a pile of leaves. Her face is obscured, leaving the observer to wonder at her motivation.'' |
Revision as of 14:38, 31 March 2021
WARNING: Contains images that some may deem NSFW
Shattered - A Self-Portrait, Jamie Salmon
2013, silicone, pigment, fiberglass, acrylic, hair, lifesize
This work presents the fragmenting shell of a middle-aged man's face and shoulders. His expression displays deep introspection combined with despair and shock. The man's turmoil is rendered as a snapshot, revealing a violent reaction slowed by the ballast of his life's experiences --- a linear progression of expectation, purpose, self-sacrifice, loss, and regret.
Woman and Child, Sam Jinks
2010, Silicone, pigment, resin, human hair
This work depicts a woman near the end of her life, lovingly cradling a child near the beginning of theirs. The aged woman’s eyes are closed, her head bowed, expression difficult to read. Is that regret? A promise? A moment of comfort? The baby stares off with aggressive curiosity, brow furrowed, mouth puckered, their little body otherwise lying content against the older woman.
Still Life (Pietà), Sam Jinks
2007, Silicone, pigment, resin, human hair
Beauty and goodness, And Grief and pity, alive in the dead marble, Do not, as you do, weep so loudly, Lest before time he should awake form death, In spite of himself...’. Giovan Battista Strozzi il Vecchio's poem on Michelangelo’s Pietà at St Peter’s Basilica
This work alludes to the Western religious art 'Pietà', also called a ‘lamentation’, normally an image of the Virgin Mary cradling the dead body of Christ. Here, the artist's references the Buddhist meditation practice of visualising the decay of one’s own body as a means of bringing the mind to terms with the body’s inevitable end, contemplating the limits of humanism and secularism.
X-Statix, Jason de Graaf
2010, Acrylic on Canvas
This painting stages an alternate reality, the illusion of verisimilitude on the painted surface. The painting renders a photo-realistic marble resting on a colourful background — photo-realistic, yet those with a discerning eye will note the artist has also created an illusion of depth, volume, and a sense of presence not found in photographs.
Eight, Jason de Graaf
2016, Acrylic on Canvas
This work depicts a masterful rendition of eight photo-realistically painted glass vessels of different size and shape standing against a scintillating city skyline at night. This study in visual deception explores the relationship of light with reflective and transparent surfaces. Those with heightened senses should be particularly impressed — the artist’s dedication to their craft is executed with such stunning precision, one might wonder if their gifts are truly natural.
Parisian Picnic 3, Juan Francisco Casas
2016, Blue BIC pen on paper
This piece is part of a collection described as ‘sex and violence reproduced in detail with a ballpoint pen’. The artist claims to tell the story of heartbreak in relationships, by rendering photos he has taken into hyperrealistic images using the ubiquitous blue ballpoint. This work shows a blonde woman cradling her head, lying disrobed and prone in a pile of leaves. Her face is obscured, leaving the observer to wonder at her motivation.
Self Portrait, Juan Francisco Casas
2010, Blue pen ink on paper
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