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