Get Ready for Your Close Up

First reference for my selfie series- appropriately, myself

After a big show and a completed series, I usually need some time to recoup and regroup. That time is coming to a close, and now that I have had a taste for inviting the public to participate with my red carpet series, I am ready to take that idea to the next level. After engaging at a micro level with the attire in my own community of Somerville, MA, I would like to jump to opposite spectrum - the global playing field.

How do I connect with people around the world? That magic device in nearly everyone's pocket seems like a good starting point. With each series I create, I usually like to set up a few rules along with the variables. For this one the constant will be the "selfie." I am looking for submissions that follow my rules but allow for participants from all over to send me their photos. Per usual, my focus is clothing - I will naturally be drawn to subjects that will allow for some great textile integration.

I am planning on using 18" x 18" canvases - I can imagine exhibiting the completed paintings in a grid along side each other on a large wall. This parallels the way we see media on our devices.

Just like my red carpet event, I am excited for the unpredictable outcome and the likely variety of references. So extend that arm and get ready for your close up. See my submission page for rules and help share this for me!

Yellow elephants find their new purpose

When I begin my process for a painting, it is vital that I find the appropriate material to incorporate. Since I choose my subjects based on their attire it is important for me to come as close as I can in replicating the fabric. In fact, there are many pieces that have never come into fruition because I couldn't find the right match.

For my next painting, the stars aligned when one of my red carpet subjects and fellow artist in my studio building saw I was wanting to paint her next. She assured me it would be a difficult fabric to match as it was a homemade dress with vintage material, but offered to look for any remnants. I could see she was doubtful. Miraculously, from the depths of a childhood closet, a scrap of yellow elephant fabric just large enough found its way to my studio. Thank you Marrisa and her expert-seamstress mother for helping me transform a forgotten square of lil elephants into art.

My first ever live painting session - the underpainting for my first red carpet oil painting

A search for random variables

A couple weeks ago I held an open call for subjects in a local and colorful outdoor square in search of a true random sampling of street fashion. Part of the allure of my theme of dress is the limitless variation and unpredictability. Many sociologists have attempted to study fashion in a mathematical sense, but there are simply too many variables to consider. The same shirt could be worn in a double xxl on a shorter person and give a completely different look than a xs on someone tall . Or take the painting I did of a guy wearing a red sox shirt, rolled up to expose his mid-drift - quite a different look than if it were worn regularly.

My experiment proved to be fruitful and full of variance. I walked away with over twenty subjects that posed for me in an array of clothing types, styles and colors. Each served a different function whether it be a professional uniform, a showcase for sports enthusiasm, a brand to show status or workout gear. Basically, I have my work cut out for me. Lots of subjects and ideas for paintings. I hope to create as many as I can before I host my first outdoor solo show in October - in the same square that I found my subjects. Stay tuned!

Waiting for Spring

Red, White and Blue

I, like many Bostonians are getting impatient waiting for Spring this year. At 35 degrees - it is just not cutting it. Not only do I personally enjoy walking in the warm sun while the birds sing, but I also look forward to the change of wardrobes on the street. There is an especially magic moment that happens on those first beautiful days when people seem to wear their most exciting outfits. Maybe they are the ones they have been longing to wear since last year, or it could be a new fashion trend that they bought in January when the stores told them it was the right time to buy it. Whatever the reason, I have noticed that when the new warmth blankets the city, I see more and more potential subjects all around me.

This year I am excited to be working with the city of Somerville on a project that will encourage people on the street to volunteer to be my subjects - still in the early planning stages, more details to come. I am hoping to start this new method of recruitment in the next month or so while the spring fashion is in high bloom.

Rules of Rebellion

I read an interesting take on the evaluation of apparel among subcultures. It was written in the 90's but the interpretation still seems to apply. Even the rebellious have their own rules to follow and in many cases are attempting to conform in their own way. A biker should be clad in their black leather jacket, a punk rocker must choose the right genre of band tee paired with appropriately unique stockings. As I am not a member of these groups, I may not have it exactly right - but those who seek to be a part of these subcultures seem to all know the rules. Especially with so many social outlets - it must enable the dictation of these standards to laid out clearer.

Youth are often the ones who adopt these subculture rules in attempt to find their niche in an environment that is ever evolving and uncertain. I remember when I was in high school there was an outbreak of cat ears - it seemed all at once each quite, mysterious, quirky girl came in wearing these. Separate at first, now they had an immediate identifier that they were in the same social group.

More than a feeling?

I recently did an interview with SCAT - which was wonderful, very receptive, great conversation flow. But at one point it was that brought up that I could be perceived as anti-consumerism. I didn't protest it at the moment, but it got me thinking. My stance is try to just be an observer, not a dictator of opinion for or against the perceptions we have. However, how do I personally feel about fashion? I think wearing a complementary outfit can give you an empowering, feel-good sensation. I think consumerism is important, clothing has the potential to bring out the best in you. It is that power, along with the other side effects that keep my interest.

But this topic is far from a black and white answer like that. I know that for some, getting dressed in the morning could be the hardest part of their day. There are those who are overwhelmed by the need to keep up on the latest fashions, sometimes driven to debt. There are others who are not allowed to express themselves via religious or social bindings. Not to mention, there is the ongoing pressure of body image to fit into the clothing correctly. In the end it is the feelings of the  individual and those of the onlookers that interest me more than my own opinions on fashion, but I do want to state for the record that my motives are not to bring down the department stores and return to hand woven attire - I tried that once, it was very time consuming!

What does fashion mean to you?

Rolling out the red carpet

The seedling of an idea has come into my mind. I have mostly played the unobserved voyeur in my search for subjects on the street, but I have wondered if I should attempt to interact with these strangers. The timid side of me is fearful of this notion. After recently being awarded a fellowship grant by the Somerville Arts Council (which was awesome!), I started to try to think about the community aspect of the grant. They like you to bring your art into the community. Instantly I thought about how I could bring my art to the streets, where it all begins for me. I would love to have an outdoor show where it looks like my subjects are walking off the canvas. Then came the thought of inviting subjects to participate.

Ok here goes my crazy idea - a red carpet in Union square, inviting passers by to walk down it and be photographed by me. This gives people the opportunity to opt - in, while still giving me the motion of them walking, hopefully still looking natural enough and I have the chance to ask them for information. To the right is my mock up of this scenario. I would have my tripod set up with a rapid sequence of shots in hopes to capture the right one. I can also gather some answers to questions about self-perception of dress. I was thinking I could ask something like "what do you think other's think of your outfit." After this all goes down, I head back to my studio for 6 mons or so, and come back to Union Square with an outdoor show of paintings based on that photography session. Feedback?

One day your in...

There are a lot of interesting theories on fashion. Ever-changing but cyclical, exclusive but common; every culture experiences this to a certain degree. Some say fashion has always been an attempt to separate the classes, introduced by the high society. This would in theory make it easier to spot out others of the appropriate income bracket. Then comes the trickle down: when bargain shops adopt the same styles, bridging the gap. Now it is time to reinvent the next trend.

In my observation, there are many people that adopt trends to fit in and others that adopt them to stand out. Clothing gives everyone the opportunity to identify their role, sometimes we consciously mold this persona, and sometimes it is subconscious. Some decide they must be the ones others look to for new trends. Others will keep a closet full of basics that will hopefully be consistently "acceptable." 

My earliest memories of caring about what I wore came around Middle School. This is a pivotal time for kids in their mico-societies, as they are quickly defined as cool or uncool, with heavy emphasis on their attire. In the seventh grade, I remember I made the decision to wear purple every day for that school year. I think I told myself that if I made one decision - color, maybe no one would focus on the rest. It is suffice to say, I didn't end up in the cool group...

Right: "School Uniform" Oil on canvas with Fleece, wool and suede. 24” x 42”

Traditional meets unconventional

Though my process of using fabric instead of canvas in this instance is unlike most, the remaining methods I use are as traditional as Renascence paintings. In my current piece I have stretched hot pink fabric instead of canvas then gessoed only his silhouette. (This is a bit painstaking but I love the finished look of being surrounded by a flat material background.) Next I work on my underpainting - sketching with two opposing colors of thinned paint.

Every oil painter works differently, but I usually start in with oils of high contrast and vibrant colors. I chose this photo of a fellow artist in my studio as a reference in part because of the excellent light and shadow effect of his drink. That and as you will see later, he is wearing an ant vest along with this hot pink ruffled shirt. (side note - he came to my opening wearing this, he must have wanted a painting to happen!)

After a few coats of coloring blocking in this style, I start to use liquin to glaze colors on. This gives depth to the piece, especially when dealing with skin tones. Below I did a thin coat of green all over - I like to go back and forth with greens and reds while I continue to work. The photo has a bit glare because it is very glossy when a glaze is wet.

The Bloomer Costume

"I feel no more like a man now than I did in long skirts, unless it be that enjoying more freedom and cutting off the fetters is to be like a man. I suppose in that respect we are more mannish, for we know that in dress, as in all things else, we have been and are slaves, while man in dress and all things else is free." - Amelia Bloomer 

In my painting and study of modern dress, it is essential for me to look to the past as well. I recently read about the 'Bloomer Costume' of the 1850's. It was meant to be a trend to begin the women's liberation movement but it was cast aside as a sideshow. At the time, women's dress was restrictive, heavy and even spread illness - by the long skirts sweeping the floor's dirt. Instead of being the catalyst for a new freedom for women, it was ridiculed. Any woman who dared parade the streets in one became a spectacle. British explorer Richard Francis Burton, travelling across the United States in 1860 noted that he saw only one woman (whom he called a "hermaphrodite") wearing bloomers.*

For my next mannequin painting I think I will use a source that I captured in Palm Springs. Much like city itself, she seems to be imported from the 1950s. She is wearing a polka dot suit. Unlike the bloomer, in the last century and a half, this costume has become socially accepted. It has enough frills, darts and adornments to keep her out of the "hermaphrodite" category. When drawing her, it is almost like she is selling the suit by saying 'Don't you see? We are liberated now.' 

I do not consider myself much of a feminist, but I was taken aback by the recent presidential election bringing back some archaic stereotypes. A suit like this makes me think of how Mitt Romney justified - no equal pay, but he’ll get you home in time to cook dinner.

I wonder if Ameila Bloomer would be contented to see where we are now?

*\http://en.wikipedia.org/wiki/Bloomers_(clothing) 

Why mannequins?

It was 4:00 in the morning at my friend Christine's apartment in NYC, when I woke up with the idea to paint mannequins. Usually my visits to NYC result in some wonderful candid photographs of unusual dress, but this time the plastic ones behind the glass were catching my eye.

With the idea born, I set out to photograph different mannequins in Manhattan. As you can imagine, there were plenty to choose from. These subjects are not shy but I did need to be cautious of glare. This is where I found my subject from the previous post, "Couture Leopard."

Why mannequins? Part of what drew me to the idea was the challenge that would come with painting people made of plastic. Their skin is hard, the stares are blank, the proportions are skewed. Conceptually they also serve as a commonplace tool showing onlookers what they should be wearing. Although a departure, they still fit within my theme and support it in a new way.

I've also used this opportunity to seek out some examples of dress that I haven't run into as easily. For example, my bride to the right. There was something eerie about her that I wanted to capture. I think she has been on display in this shop window for a while, so why not take it a step further immortalize her in painting.

The wedding dress on its own is such an important garment in our society. It resurfaces across every level of income and is prominent in many cultures around the world. It is worn for one day, but remembered for a lifetime. Still, at the end of the day, it is just fabric. I love to bring focus to the power of dress, and this is a monumental example.

Beginning to Elaborate

With a new year, I, like many am reflecting on ways better my process. I decided this was a good time to start documenting my work with a blog. My favorite part about hosting exhibitions is explaining to viewers my methods and thoughts behind the pieces that interest them. So I am attempting to recreate this experience in an online format for any who wishes to join in.

At my latest show, Fabricating Realities, the painting that I saw most attendees drawn to was "Couture Leopard." (right) I initially feared her patterning might cause a feeling of vertigo - fortunately, there was just enough difference in my painting of her dress and the real fabric in the background to create a graphic and dynamic juxtaposition.

You may notice if you are familiar with my work that there is something different about my subject - that she looks plastic. This is because I have recently taken interest in painting mannequins. She is one of three in my series so far. I will post photos of the other two and expand on my inspiration behind them soon. For those who prefer my paintings of real subjects, worry not - I have not given up on them. In fact, I am working on a new one now of a fellow artist - more on this later as well.

Till the next post,

Danielle