Double Portrait Research

Post tutorial with Angela, I have begin to investigate double portraits. Yesterday I visited the BP Portrait Award and Glamour of the Gods at the National Portrait Gallery. I always go to the BP - it seems a good (and free) opportunity to see a range of painted works in the portrait genre. There seem to be some artists who exhibit again and again - 55 works selected from over 2000 entries - I'm not sure if this a vast number of applications or not. The work this year tended to be quite tight, not many gestural pieces and some quite illustrative. I also looked around the permanent collection is search of double portraits which were few and far between...expecting to find more, I then looked at the online catalogue and found lots, predominantly photographs. Also found out that you can print in black and white for free(!) so came home with quite a selection. There seem to be particular circumstances when the double portrait is used (from my survey of npg - this is by no means an exhaustive list); royal and political portraits; creative pairings e.g. French and Saunders; curiosities, twins and performers (acrobats and dancers); family pairs, mother and child, husband and wife, siblings and double sketches depicting one sitter from two angles. There was less of the mirror than I expected, although I found a great image by Laura Knight in the shop, 'A Dressing Room at Drury Lane' (1952) - love the double mirror and girl meeting the viewer's gaze while the other dancer seems absorbed with her own reflection. 

I have begun to make a double portrait research wall in my studio with prints and postcards. Must also say that David Hockney is unavoidably part of my investigation - his double portraits use scenarios and status to create intriguing social and domestic commentaries. I have grouped my research so far into loose collections; boys - the princes in the tower, elizabeth peyton, gilbert and george; performers; girls - alice neel, claude cahun, nicky hoberman's playmates, twin-like, diane arbus and domestic - love, mother and child, friends.

Reflection

Already I can see an area of particular interest emerging from this initial research. Although I will look further into family ties, it is the sense of reflection which hold my attention; either through similarities in appearance, twins etc or through a physical reflection in a glass. The inclusion of mirrors as props makes the gaze rebound between viewer and subject, and makes the subject seem stronger as they appear in multiple. Mirroring of body language and costume may also be an area which will link well with this line of enquiry. This also made me think of Roni Horn's second apart images again - I will explore this idea through continuous shoot photography and working on pairs of canvases to try and understand more about the process of constructing a double image. 

Double Portraits Investigation

Work in progress exploring dialogue between subjects. This will continue as an investigation alongside my VE essay. Both images are composite, however, the first are related and the second pair are randomly placed. I think that this is evident as they are awkwardly placed together, particularly the 'floating' girl who seems placed out of context. They are also intended to develop as a pair of paintings - both have a diagonal format which creates an arc when they are viewed next to each other. The use of birds in the background of the two boys is intended to give some context, a kind of babes in the wood scenario perhaps. It has been difficult choosing colours for the backgrounds of both as this really affects how the figures in the images look. I was pleased to see that the paintings are not as yellow as I first thought now I have taken them outside of the studio to photograph. They are both beginning to build up in different ways. The first is continuing to be layered with thin washes of oil, diluted with turps; the second has thicker paint in some areas and is more scratchy with outlines. When visitors commented on my work at Open Studios they expected the media to be watercolour not oil due to its lack of gloss. This works for me but I may consider using some sort of varnish or glaze at the end of the process to restore some of the original look of oil. I have also identified an issue with using white paint - it creates a cloudy, almost pastel look to the paint, it seems less pure. I am going to try and preserve some the white from the ground of the canvas to keep some cleaner areas.

Reflection

This process is helping me to explore pairs and surfaces in multiple levels. To work simultaneously on two pairs which could link with each other is quite challenging but healthy as it shares the pressure of achieving success between the two. I intend to spend more time looking at my work outside to gain a true light perspective. This will enable me to make better judgements about colour combinations and the generally balance in the image.

Thoughts on Dialogue

Have been thinking about the notion of creating dialogue in images/between images and objects.

Just wanted to record these thoughts as a pause point before I develop them...

• Place two or more people in a painting to give context and/or juxtaposition.
• Create paintings which are then split into more than one piece and display together.
• Create pairs of paintings - from studio chat about the problems of commissions, create two and let the patron choose which one they want. Also quite interesting to create paired works like Roni Horn's photos taken a second apart. Start from the same point and let them evolve individually.
• Create pairs in images which are then displayed separately - either on two separate canvases which can be hung together or recreate in a different format and place at a distance away from each other.
• Create painting and 3D object which reponds to one of the symbols or figures in the image. Display alongside each other to create contrast between media.

Lots to think about...

Mapping the Territory

Final composite of map. Blurb and installation shots to follow.

Chantal Joffe

New Research Board

Mapping the Territory

I'm really glad I started this one early so I could work on it over a longer period of time. I think working in a school has given me an aversion to the concept of 'mindmaps' so picking a media was comfortable with was essential. Not really a painting task, have chosen constructed collage with writing. It will be a series of pieces because I felt I needed some structure to order my ideas. The nature of the piece reflects my practice; it is a composite, constructed from different ideas. It has an aesthetic quality but still allows for freedom within each frame. It is handmade over a long period of time. The studio is at the centre of my thoughts as it is in my day to day practice. There are seven pieces; from left to right...Audience, Artist Intentions, Materials and Processes, Studio, Influences, Context and Initiatives. I'm finding it challenging, having to delve into what is most important in my practice and expose the process. Have sort of documented the process but not keen on revealing each piece as a whole so have posted some edited highlights to create a sense of what I am doing. My intention is to complete and display these pieces in time for Bucks Open Studios - as visitors will be coming to see a working studio, this seems an opportune time to reveal more about my process and thinking.

Detail from Audience

Detail from Studio

Detail from Influences

Detail from Intentions

Detail from Materials & Processes

Detail from Initiatives

Detail from Context