Laia Ferran the artist that drew this drawing of Sam and Lulu, got inspired by Sam's untied shoes.
If you go to the minute1.20 until 1.26:
http://www.youtube.com/watch?v=KxkoZX9Vk2E
Monday 13 February 2012
Video that inspired artist Laia Ferran
Laia Ferran the artist that drew this drawing of Sam and Lulu, got inspired by Sam's untied shoes.
If you go to the minute1.20 until 1.26:
http://www.youtube.com/watch?v=KxkoZX9Vk2E
Sunday 12 February 2012
Why can't portraits be made from videos instead of long sessions of models posing hours & hours on end.
Why can't portraits be made from videos instead of long sessions of models posing hours & hours on end?
I am a big big admirer of Lucien Freud's work and I just want to suggest why can't things be painted from a video image instead of a real life model. You don't need to put models through so many hours of torture whilst trying to maintain the same position for hours on end. Surely by freeze framing an image of a video and slowly frame by frame you can capture their personality.
Lucien Freud painted his daughter Rose in the nude and said: "Painting my daughter was a way of being with her. She chose to sit in the nude and she found a pose that allowed her to relax. She was always in this state of just waking up. When I become immersed in the process of painting someone. I can lose their relationship to me and just see them as beings, as animals. I'm interested in them as animals in the natural sense, if you know what I mean".
I think that the images below of Sam posing as if she was 1920's pornographic postcard would make amazing portraits
I am a big big admirer of Lucien Freud's work and I just want to suggest why can't things be painted from a video image instead of a real life model. You don't need to put models through so many hours of torture whilst trying to maintain the same position for hours on end. Surely by freeze framing an image of a video and slowly frame by frame you can capture their personality.
Lucien Freud explains: "I was visually aggressive. I would sit very close and stare. It could be uncomfortable for both of us. I was afraid that if I didn't pay very strict attention to every one of the things that attracted my eye the whole painting would fall apart. I was learning to see and I didn't want to be lazy about it. I sometimes looked so hard at a subject that they would undergo an involuntary magnification".
Once again I think that an artiste can capture the personality of a person in a video where they are being completely natural, when they have forgotten the camera is following them.
Lucien Freud says: "Portrait painting has to do with people; how they are, what they look like, the character of their presence in the room with you. You have to trust what you see and what you feel. I never put anything into a picture that I don't actually see when I'm painting a subject. However, I'm not trying to make a copy of the person. I'm trying to relay something of who they are as a physical and emotional presence. I want the paint to work as flesh does. If you don't over-direct your models and you focus on their physical presence, interesting things often happen. You find that you capture something about them that neither of you knew."
With Sam says enjoy life!, that is what I want artistes to do. To capture Sam's personality and promote her joyful personality through different artiste visions. The different things that they capture of Sam through images of her in her videos.
Laia Ferran who is one of the Sam says artistes, says that she got inspired by a particular video of Sam playing with Lulu by the swimming pool. Sam had her shoes untied.( Laia starts talking around minute 1.14):
http://www.youtube.com/watch?v=DCxT0I32Heg&feature=related
Laia Ferran who is one of the Sam says artistes, says that she got inspired by a particular video of Sam playing with Lulu by the swimming pool. Sam had her shoes untied.( Laia starts talking around minute 1.14):
http://www.youtube.com/watch?v=DCxT0I32Heg&feature=related
Lucien Freud painted his daughter Rose in the nude and said: "Painting my daughter was a way of being with her. She chose to sit in the nude and she found a pose that allowed her to relax. She was always in this state of just waking up. When I become immersed in the process of painting someone. I can lose their relationship to me and just see them as beings, as animals. I'm interested in them as animals in the natural sense, if you know what I mean".
I think that the images below of Sam posing as if she was 1920's pornographic postcard would make amazing portraits
I painted people because I wanted to know them better said Lucien Freud
I painted people because I wanted to know them better said Lucien Freud
I red this article written by Michael Auping for the Saturday Times (Sat Jan 29 2012). Read the article and I will make comments in my next post.
Michael Auping: In your early works you were very meticulous. The details tend to jump out at you.
Lucien Freud: I was visually agressive. I would sit very close and stare. It could be uncomfortable for both of us. I was afraid that if I didn't pay very strict attention to every one of the things that attracted my eye the whole painting would fall apart. I was learning to see and I didn't want to be lazy about it. I sometimes looked so hard at a subject that they would undergo an involuntary magnification.
Portrait painting has to do with people; how they are, what they look like, the character of their presence in the room with you. You have to trust what you see and what you feel. I never put anything into a picture that I don't actually see when I'm painting a subject. However, I'm not trying to make a copy of the person. I'm trying to relay something of who they are as a physical and emotional presence. I want the paint to work as flesh does. If you don't over-direct your models and you focus on their physical presence, interesting things often happen. You find that you capture something about them that neither of you knew.
Michael Auping: Do you direct your sitters?
Lucien Freud: It's difficult to say how a pose comes about with any portrait. It just happens. We, come to an agreement. I usually ask them to hold a pose based on something I see that seems new or odd to me. It's usually not what they think I'm looking at. I suppose you might say we exploit each other. I am allowed to make a painting based on their presence in my studio, and they are allowed to make that presence known in different ways. Leigh Bowery seemed to know exactly what he wanted to do and simply assumed different positions that we could agree upon. At our first sitting he had his clothes off before I could say anything.
When you first start painting, a sitter will often feel they need to act, and they will try to pose. If someone is really posed, it's not that interesting: too much like acting.If I then try to direct, they will also become a bit rigid. So I try to let them move around a bit to get through certain obvious positions. Also, because they will have to hold the position for many hours over many weeks, they have to be comfortable.
I feel a need to see as much of the subject as I can, sometimes from different angles. A portrait isn't just a flat image. It is a person. It needs to have dimension. I'm not interested in a painting that looks like a photograph. I want my paintings to feel like people. I want the paint to feel like flesh.
Painting is always psychological. Of course, the process of learning to paint gets involved with tradition, with prejudice, with memory, but to have the person there infront of me, to try to understand their presence beyond clichés, helps me to get around those things. I don't want them to be passive,There has to be a living presence for my paintings to be successful.
Michael Auping: When you are doing a portrait of someone, I assume you get to know them well.
Lucien Freud: I have often painted people because I want to know them. Getting to know them is part of doing the portrait. These portraits can take a very long time. A relationship always develops. It can be difficult as well. I can be very demanding. Not everyone would want to do it.
I don't try to represent what I think I know about them. I would rather learn something new. Doing a portrait is about seeing what you didn't see before. It can be extraordinary how much you can learn from someone, and perhaps about yourself by looking very carefully at them, without judgment. I react to what is there. I don't make anything up. Having said that, there are so many things to react to in a portrait. There are so many qualities to a person - not only their features and gestures, but how their size and demeanour relate to you and the room. What I choose to select of all these qualities could be considered an exaggeration, but it isn't. It's my selection of qualities that I see.
Michael Auping: Your paintings have a remarkably strong material presence. The skin of your figures is palpable.
Lucien Freud: I like skin. It's so unpredictable. I remix my colours for almost every brush stroke. I don't want a single colour to dominate. I don't use a colour symbolically. I use it to give life to the figure. I think the nude have to do with making a larger, more complete portrait. it's a more specific portrait. I can simply see more of the person. Anyone can put on different clothes. The naked body is somewhat more permanent, more factual.
All portraits are difficult for me. But a nude presents different challenges. When someone is naked, there is, in effect, nothing to be hidden. You are stripped of your costume. Not everyone wants to be that honest about themselves. That means I feel an obligation to be equally honest in how I represent their honesty. It's a matter of responsibility. I'm more of a realist. I'm not just trying to see and understand the people that make up my life. I think of my painting as a continuous group portrait.
Michael Auping: In terms of painting girlfriends or wives or nudes in general, do you find that erotic feelings become involved?
Lucien Freud: Of a sort yes. It's inescapable. It's not something that you should deny. I think it becomes more erotic if you try not to allow it to be. If you are not particularly religious or prudish or shy, eroticism is a part of ordinary life.
Michael Auping: I have known people in America who have been taken aback by the nude of your daughter Rose 1978-1979. That kind of intimacy with a family member would be difficult for some people.
Lucien Freud: Painting my daughter was a way of being with her. She chose to sit in the nude and she found a pose that allowed her to relax. She was always in this state of just waking up. When I become immersed in the process of painting someone. I can lose their relationship to me and just see them as beings, as animals. I'm interested in them as animals in the natural sense, if you know what I mean.
Michael Auping: You have also done a number of portraits of your mother.
Lucien Freud: There came a time that I could be with her, and I thought that I should do so. Doing her portrait allowed me to be with her. I suppose I felt I needed her to forgive me. I tried to be unavailable to her when I was young. She was very intelligent and highly observant. I felt oppressed by her because she was very instinctive and I've always been very secretive. It was hard to keep things from her. The idea of her knowing what I was doing or thinking bothered me a great deal. So it was a strained relationship. When my father died she tried to kill herself. She had given up. I actually felt I could finally be with her because she lost interest in me.
Michael Auping: You don't seem to want to flatter your-self in your self portraits.
Lucien Freud: I paint what I see. I use different mirrors and I try to see myself in unexpected ways, the person I can't or don't want to see in my mind. I try to paint what is actually there. I feel a certain obligation to do the self-portraits It keeps me honest. It helps me to appreciate what I put my models through. It also helps me to see other people better.
I red this article written by Michael Auping for the Saturday Times (Sat Jan 29 2012). Read the article and I will make comments in my next post.
Michael Auping: In your early works you were very meticulous. The details tend to jump out at you.
Lucien Freud: I was visually agressive. I would sit very close and stare. It could be uncomfortable for both of us. I was afraid that if I didn't pay very strict attention to every one of the things that attracted my eye the whole painting would fall apart. I was learning to see and I didn't want to be lazy about it. I sometimes looked so hard at a subject that they would undergo an involuntary magnification.
Portrait painting has to do with people; how they are, what they look like, the character of their presence in the room with you. You have to trust what you see and what you feel. I never put anything into a picture that I don't actually see when I'm painting a subject. However, I'm not trying to make a copy of the person. I'm trying to relay something of who they are as a physical and emotional presence. I want the paint to work as flesh does. If you don't over-direct your models and you focus on their physical presence, interesting things often happen. You find that you capture something about them that neither of you knew.
Michael Auping: Do you direct your sitters?
Lucien Freud: It's difficult to say how a pose comes about with any portrait. It just happens. We, come to an agreement. I usually ask them to hold a pose based on something I see that seems new or odd to me. It's usually not what they think I'm looking at. I suppose you might say we exploit each other. I am allowed to make a painting based on their presence in my studio, and they are allowed to make that presence known in different ways. Leigh Bowery seemed to know exactly what he wanted to do and simply assumed different positions that we could agree upon. At our first sitting he had his clothes off before I could say anything.
When you first start painting, a sitter will often feel they need to act, and they will try to pose. If someone is really posed, it's not that interesting: too much like acting.If I then try to direct, they will also become a bit rigid. So I try to let them move around a bit to get through certain obvious positions. Also, because they will have to hold the position for many hours over many weeks, they have to be comfortable.
I feel a need to see as much of the subject as I can, sometimes from different angles. A portrait isn't just a flat image. It is a person. It needs to have dimension. I'm not interested in a painting that looks like a photograph. I want my paintings to feel like people. I want the paint to feel like flesh.
Painting is always psychological. Of course, the process of learning to paint gets involved with tradition, with prejudice, with memory, but to have the person there infront of me, to try to understand their presence beyond clichés, helps me to get around those things. I don't want them to be passive,There has to be a living presence for my paintings to be successful.
Michael Auping: When you are doing a portrait of someone, I assume you get to know them well.
Lucien Freud: I have often painted people because I want to know them. Getting to know them is part of doing the portrait. These portraits can take a very long time. A relationship always develops. It can be difficult as well. I can be very demanding. Not everyone would want to do it.
I don't try to represent what I think I know about them. I would rather learn something new. Doing a portrait is about seeing what you didn't see before. It can be extraordinary how much you can learn from someone, and perhaps about yourself by looking very carefully at them, without judgment. I react to what is there. I don't make anything up. Having said that, there are so many things to react to in a portrait. There are so many qualities to a person - not only their features and gestures, but how their size and demeanour relate to you and the room. What I choose to select of all these qualities could be considered an exaggeration, but it isn't. It's my selection of qualities that I see.
Michael Auping: Your paintings have a remarkably strong material presence. The skin of your figures is palpable.
Lucien Freud: I like skin. It's so unpredictable. I remix my colours for almost every brush stroke. I don't want a single colour to dominate. I don't use a colour symbolically. I use it to give life to the figure. I think the nude have to do with making a larger, more complete portrait. it's a more specific portrait. I can simply see more of the person. Anyone can put on different clothes. The naked body is somewhat more permanent, more factual.
All portraits are difficult for me. But a nude presents different challenges. When someone is naked, there is, in effect, nothing to be hidden. You are stripped of your costume. Not everyone wants to be that honest about themselves. That means I feel an obligation to be equally honest in how I represent their honesty. It's a matter of responsibility. I'm more of a realist. I'm not just trying to see and understand the people that make up my life. I think of my painting as a continuous group portrait.
Michael Auping: In terms of painting girlfriends or wives or nudes in general, do you find that erotic feelings become involved?
Lucien Freud: Of a sort yes. It's inescapable. It's not something that you should deny. I think it becomes more erotic if you try not to allow it to be. If you are not particularly religious or prudish or shy, eroticism is a part of ordinary life.
Michael Auping: I have known people in America who have been taken aback by the nude of your daughter Rose 1978-1979. That kind of intimacy with a family member would be difficult for some people.
Lucien Freud: Painting my daughter was a way of being with her. She chose to sit in the nude and she found a pose that allowed her to relax. She was always in this state of just waking up. When I become immersed in the process of painting someone. I can lose their relationship to me and just see them as beings, as animals. I'm interested in them as animals in the natural sense, if you know what I mean.
Michael Auping: You have also done a number of portraits of your mother.
Lucien Freud: There came a time that I could be with her, and I thought that I should do so. Doing her portrait allowed me to be with her. I suppose I felt I needed her to forgive me. I tried to be unavailable to her when I was young. She was very intelligent and highly observant. I felt oppressed by her because she was very instinctive and I've always been very secretive. It was hard to keep things from her. The idea of her knowing what I was doing or thinking bothered me a great deal. So it was a strained relationship. When my father died she tried to kill herself. She had given up. I actually felt I could finally be with her because she lost interest in me.
Michael Auping: You don't seem to want to flatter your-self in your self portraits.
Lucien Freud: I paint what I see. I use different mirrors and I try to see myself in unexpected ways, the person I can't or don't want to see in my mind. I try to paint what is actually there. I feel a certain obligation to do the self-portraits It keeps me honest. It helps me to appreciate what I put my models through. It also helps me to see other people better.
Sam says:"There's no place like home" enjoy life!
Sam says:"There's no place like home" enjoy life!
Spoof there's no place like home starring Uma Ysamat
https://vimeo.com/36251680
Spoof there's no place like home starring Uma Ysamat
https://vimeo.com/36251680
Sam says: "I'm too sexy, I'm a right said friend kinda girl"" enjoy life!
Sam says: "I'm too sexy, I'm a right said friend kinda girl"" enjoy life!
Spoof video to promote Sam says enjoy life! aprons and over kitchen accessories
https://vimeo.com/36396977
Spoof video to promote Sam says enjoy life! aprons and over kitchen accessories
Saturday 4 February 2012
Sam says:"Spoofs are fun" enjoy life!
My dear friends: Uma Ysamat, Benjami Tous, Sem Rossi and Ramon Vilardell all kindly participated in helping me make a little spoof film/ advert to promote the Sam says enjoy life aprons, tea towels, oven gloves...
We all had a great laugh and I hope you do as well.
Thanks to Jo Ryan, Txell Fernandez, Ferran Prado, Cora Delgado, Ivan R. Saldias, Ricard Aymar, Neroli Mcsherry, Maria Sagües, Jaume Lopez, Encarna Martinez, Gonzalo Marcuzzi, Andrew & Mireille Archer, Simone Dumollard. For all making it possible to make the little film.
http://vimeo.com/36137969
We all had a great laugh and I hope you do as well.
Thanks to Jo Ryan, Txell Fernandez, Ferran Prado, Cora Delgado, Ivan R. Saldias, Ricard Aymar, Neroli Mcsherry, Maria Sagües, Jaume Lopez, Encarna Martinez, Gonzalo Marcuzzi, Andrew & Mireille Archer, Simone Dumollard. For all making it possible to make the little film.
http://vimeo.com/36137969
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