Reflection

Rochester Institute of Technology

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5-1-2002

Reflection

Melissa Sciera

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Rochester Instituteof

Technology

A Thesis Submitted

to the

Faculty

of

The College

of

Imaging

Arts

and

Sciences

and

The

School for American Crafts

In

Candidacy

for

the

Degree

of

Master

of

Fine Arts

Reflection

By

Melissa Sciera

Final Approvals

Chief Advisor:

Leonard

rso

Date:

RA/

cZ/)

dooe?

Associate Advisor:

Charlotte Mann

Associate Advisor:

Alan Singer

Date:

Associate Advisor:

DeAnna Skedell

Date:

Chairperson:

Richard Tannen

Date:

I,

, prefer

to

be contacted each time a request for reproduction

is made. I can be reached at the following address:

Table

of

Contents

Acknowledgements iii

ListofIllustrations v

Initial Proposal 1

Artist's Statement 2

Introduction 3

Chronology

ofIntent 4

The Work 7

Conclusion 13

Illustrations 14

List

of

Illustrations

All photos

by

Dan Neuberger

1. Reflection #16 14

2. Reflection #16

-detail (10"x

20")

15

a.

Charcoal,

pastel

3. Reflection #16

-detail(10"x

23")

16

a.

Acrylic,

beeswaxon board

4. Reflection #39 17

5. Reflection #39

-detail (8 1/2"

x

11")

18

a. Pen andink 6. Reflection #39

-detail (8 1/2"

x

11")

19

a.

Copper,

acrylic

7. Reflection #54 20

8. Reflection #54- detail

(10"

x 12

1/2")

21

a. Acrylic

9. Reflection #54- detail

(10"

x 12

1/2")

22

a.

Copper,

acrylic

10. Reflection #166 23

11. Reflection #166- detail

(12"

x 14

1/2")

24

a.

Acrylic,

beeswaxonboard

12. Reflection #166- detail

(10"

x

12")

25

a.

Sterling

silver,acrylic

13. Reflection #34 26

14. Reflection #34- detail (5

1/2"

x

9")

27

a. Penandink 15. Reflection #34- detail (5

1/2"

x

9")

28

Initial Proposal

"Images thatlookatthemselves

wholookatyou

wholook at

them"

-DavidPiper

The Artist Bv Himself

The Powerofthe Self-Portrait: What does it Reveal About its Maker?

Since we first painted ourselves on cave walls, we have sought to define ourselves in

place andtimewhetherforsocial orintellectualstatus, to establisha personal

dialogue,

or

tohope for aglimpse into the remarkable.

Many

artists such as Frieda

Kahlo,

Vincent Van

Gogh,

andRembrandt vanRyn haveprocured workin self-portraiture thatcaptures

an essence unattainable if it were done

by

another. It is this essence thatis the basis of

mythesis.

To accomplish this, I plan to rendera self-portrait

two-dimensionally

_{everyday pushing}

thelimitsof_{tools, scale,}and subject. _{This self-study}will also evolve

dimensionally

into metalsculpture. Theendresult, ortheendcollection, willtell atruestory..

.mystory.

A focus will be placed on

defining

the space, the form in space, and the form in space

withinaframeoftime.

"Artists cannot escapethemselvesfortheirwhole workis an

autobiography"

Artist'

s

Statement

Life is about continual change and ourchallenge, as

humans,

is to understandourplace

within that context. This question of

identity

_{involves assessing}the self. Ibelieve the

true selfto be balanced between its opposites much as two points define a line. These

works represent the line of dialogue between our outward appearance and our inner

topography. The idea is addressed_visually

by

_presentingtwo aspects ofthesameimage.

One image explores themirror's reflection whilethe other examines thatwhich is under

theskin.

My

experience as a metalsmith coupledwith theexploration into other medialedmeto

investigate anew _aesthetic; anew approach to_workingthe metal surface. The use of a

wide range ofmedia responds to the diverseperspectives and experiences found in life.

Through this work, I respond to life's constant change and place _my self within that

Introduction

Theself-portraitdates backto the4th_{century BCE in Greece} andEgypt.

Examples are scarceuntilitsre-emergence

during

theRenaissancewhere itstoodfor

statusboth socially andintellectually. Sincethe_{aristocracy primarily}commissioned

portraits as public statements oftheirsocial_standing,thedevelopmentofself-portraiture

puttheartist onthesamelevel asthepatron. Thiscontinued as astatus symbol forartists

as collectors could not_onlycollecttheartist'sworkbutalsoacquire a work oftheartist

himself/herselfasthesubject_elevatingtheposition oftheartist. Prestigiouscollections

of_portraits, such astheRoyal

Academy

in New York

City,

wheretobecomea member

an artistmustsubmit a self-portraitas agift_{to the collection,}establishedthis typeof

work as acredible modeof expression.

Asking

thequestion,"

whatisthepower oftheself-portrait and whatdoes it

reveal aboutitsmaker?"

ledmetopursuethis_self-studyanddiscoverformyselfthe

mystique oftheself-image andtheessencewithin.

"Many

artistsbeforethe20th_centuryconsideredfigurative arttobethemost

powerfulmeans of_representinguniversal ideals [truths]. Inthefirst halfofthe20th

century,

however,

such expression assumed aheightenedpsychologicalandconceptual

dimension."1

It is herethatIpick_upthe_{study employing}theclassicalidealsoffigure

representationand subjectittotheromantic

tendency

of_adheringto thebeliefthata

"totalexpression oflifecomplete withitsnervousness, anxieties, and

sorrows"2

aswellas

joy

andperfection wasthe

key

to atruerself-image.

1

Helen

Gardner,

Gardner'sArt Throughthe

Ages,

9thed.,Horst De La

Croix,

Richard G.

Tansey,

andDianeKirkpatrick

(editors),

Harcourt Brace Jovanovich

Inc., 1991,

page987

2

Written

by

theFrenchart_critic, Auguste

Barby

inthelate 19th

century inan article

aboutSymbolistpainterOdilonRedon. He was_speakingof"Thespiritual emptiness of

painters ... It istime thatoneofthemreminds usthat theirart(doesnot)consistonly in

soullesstechnical

facility

. . . Odilon Redon: Prince of Dreams

1840-1916,

New

York,

Chronology

of

Intent

"Theportrait (or indeed any kindof_{painting) is here}a picture ofthepainter's

perception ofhis subject; andtheact of_paintingisa

learning

process about one's

feeling

towards thesubject."1

When Ifirst began this ideaof self-portraiture Iwanted italsotobea 'self-study'.

Freshoff alifechange, Ifelttheneedtoreassess whereIwas. So I

literally

faced_my self

everyday. Idecidedtoexecute a

drawing

each

day

inordertoobserve thedevelopmentnot

onlyon thepage, butwithin_myperception of_my selfaswell. Iunderstoodthat_studying the

same subject over a period oftime would_undoubtedly reveal insights as_my thoughtprocess

toward selfevolved.

I_{began my study in}arepresentational manner, paying attention tothedetailsof_my

appearance. Ifound this _challenging andexperimented withdifferent

drawing

mediaasI

searchedmysurface withtheintentof accuraterealism. Ifeltunsatisfied with theresults in

thatIfeltthat thedrawings alonedidnot capture the trueself. Another artist could stilldo

whatIwas_creatingasIwas_merely

imitating

my image. Throughthis

dissatisfaction,

I

learnedthatIwas morethan whatIlooked like.

"Aconscious self-portrait canbe an artwork thatshows theartists _capacity to 'get

inside'

his subject

manner."2

Exploring

a_variety ofline quality and

drawing

techniques allowed meto_convey a

more accurate image. Influenced

by

the drawingsofsuch artistsasManuel Neriand

Mary

Frank, Istrovetoimbue moreemotion intothedrawings with dramaticblocks of color and

boldstrokes. Imovedaway fromrealistic renditions and utilizedthe headand faceas a

symbol thatrepresented _my selfwithoutthephysical resemblance.

1

James_Hall, The Worldas_{Sculpture, London, England,} Pimlico,

2000,

page36

2

My

results ledmetofurtherexperiment with texture as thedrawings transformed into

involvedpaintings which emulatedlow-relief sculpture. At_{this point,} Iwas

focusing

the

majority of_{my energy} and _{thought toward painting,} even _{working larger}than life. I

permitted myselftostand_awayfrom academic technique and allow theemotion tomove

through_{my heart}to attackthecanvas with

ferocity

and specific intent. Theconcept was

aboutthe_energy transfer through _myphysical

body

ontothe canvas. Atthesame_time, I felt

a pulltowork inmetal and initiatedan experiment where Iapplied theact of_attacking the

canvas with emotion and usedthismotivation towardmetal, utilizing the techniques of

chasingand repoussage. Thistechniqueinvolves _manipulating the surface ofametal sheet

by

usingdifferent shaped punches toemboss themetalfrom thefrontas well as thebackto

create a lowrelief. Ifeltthis method tobe kin toaction_painting andIreferredtoitas"free

chasing". This applicationhas a

long history dating

backtotheBronze Age. Rooted

firmly

inclassical

design,

_{my training} inthis techniquehad beenrestrictedto_copyingmaster

chasersinatraditional style.

By

_applying adifferent kindof_{thinking, I}was abletore

discover chasingformyself. Thesurfaceis raw, unrefined, andvisceral inexpression. The

tooling and_mark-makingappearaggressive, almost_haphazard, yet thereis an orderto the

placement ofthe_texture, apurpose.

"Thisprocess ofinteraction with the canvas, thisgive andtakebetween the creator

andtheobject

being

created sounds _verymuchlike Harold Rosenberg's 3description of

action_paintingas adrama inwhichtheartist-actor lives outthedramaticaction on thestage

ofthecanvas."4

3

Harold

Rosenberg

is aUnited Statesart and

literary

critic whowrote abouttheAbstract

Expressionist movementin the 1950s.

4

April_Kingsley, The

Turning

Point.TheAbstractExpressionists andthe Transformantion

of

As Iquestioned how toportray the self, I began tosee within _my own work, the

different approaches Iemployed.

Beginning

with a realistic approach and _traveling through

several art

history

movements tocomplete _abstraction, a

dichotomy

oftheinnerand outer

selfbecame apparent. Thisvehicle ofself-imageforced metoconsider what atruedefinition

of self was.

"Rothkocalled hispictures 'portraits' as well as

'presences'

- inthat

they were

intendedto_{convey the character, emotions, the} human dramaofthe

immensely

complex

inner-self."5

Themain influence

(subject)

oftheworkis_{kept company}

by

colors,

lines,

and shapes

creatingvisual relationships and_exhibitingthe factthatat_any given time thereare a

multitude ofinfluences affecting our perception. There is moreto the selfthanone

definition;

oneexplanation.

Ichoosetorepresent this idea indiptych form. Onepanel depicts theoutward

appearance whilethe other reflects ontheinner self.

The interaction between the twopanels creates adialogue emulating howthephysical

appearances as well asoutside influences work with theinnerthoughts andfeelings ofthe

individual tocreate thewhole person. Thewholeisequaltothesum ofitsparts. Since I

viewthese twoaspects ofselfas separateparts, thetwohalves ofthepresentation createthe

wholepiece. There _{is unity in}movement, color, textural application, size, and_image, yet

thereis adistinction. Since thecontentissubjective, theviewerdetermines which panel

represents which aspectbasedon hisorherown sphereofself-understanding.

5

April

Kingsley,

The

Turning

Point.The Abstract Expressionists andthe Transformantion _of

The

Work

My

intent isto_{visually portray my idea}oftheopposite ends ofthe trueself. The

factthat theseworks are _{diptychs demonstrates}the

dichotomy

oftheself. Inthis _{study I}

choose to_portraythis astheouter appearance andinnerself.

Theoutside ofthe selfdeals withtheoutward _appearance,whatthereflectionin

the mirrortellsus.

Initially,

Ibegan_{my study}there.

My

focus ledto

daily

drawings and

sketches. Reflection #16 (seeillustration

1)

was one ofthefirst inthisseries. The

drawing

(seeillustration

2)

depictsafigure

(my

representation of_myself)offto theright

ofthepicture planewithher handoverher

face,

her hair

loose,

and clad_{only in her}

underwear. Thisrealistic portrait showshowemotion canbetranslated visually. The

viewer reads thefigure's

body

language anddemeanorand can placehimselforherself in

the same position. _{Here it is vulnerability}and objectification thatareportrayed. The

paintingthat accompaniesthis

drawing,

or whatIam_using todemonstratetheotherside

ofthescale,visuallyportraystheinnerselfinrelationto thefigure toitsright.

My

approachto the_{painting involved utilizing}theflow ofemotion. Theabstractrelief

painting isaportrait of whatit looks liketofeelasthefigure does.

This innerselfis composed ofour_{emotions,thoughts,} and

influences,

which at

anygiventimeare present. This less tangiblepartseemsbestexecutedinthemanner of

theabstract expressionists.

During

the

1950s,

theabstract expressionistmovementfocusedonthoughtinto

action where whatis leftonthecanvas wasthephysicalresidueoftheemotional output.

This painting (see illustration

3)

followsthat tradition. Thecolor palette andtextural

noboundary. Theviewercanrespondtothe formand shape oftheexpressed emotion.

Thesetwoworks respondto each otherand givefurtherinsighttothework's meaning.

Heretheinsideandthe outside oftheself are

literally

demonstrated. This

being

thefirstofthethesis

body

tocometogetherlays thegroundworkforthe_remaining

pieces.

Iam_usingtheideaof

depicting

myself and

infusing

emotionandexpression

becauseI believethere tobemoreto theselfthanmere status orpraise asthe

history

of

portraiture explains. Portraitistswere oftenknownto enhancetheir sitter'sportraitto

gainthem greaterfame. EvenMichelangelo's premise wasthat"the

functioning

ofartin

general,and sculpturein_particular, was todealwithtimelessuniversals ratherthan

ephemeralparticulars."1

He believedrealisticlikenesseswere_{unnecessary due}to thefact

that

history

wouldnotbethewiser.

Therefore,

idealproportionsand

beauty

recalledthe

classic ofGreekandRomansculpture andportraiture.

Iam_challengingthistraditionalview

by

_{purposely using}non-idealized views of

myself. Theseviewsbettercommunicateemotionsthus

bridging

the twoviewsofthe

self.

Anotherworkinthis seriesis Reflection #39 (see illustration 4).

Here,

Ihave

only drawn my

face,

reflectingonclassic portraiturebutwherethepast_{may have}

flattered,

here it isquitetheopposite. The demeanoremulatesone of anger anddistress

(see illustration5). Thestarkblackand white givethe

drawing

a sense of_coldness, like

ice. This

drawing

is coupled withthefirstoftheworkstobeexecutedinmetal(see

illustration6). The image is themirror reflectionofthe

drawing

and encompassesthe

1

sameemotions. Themetalgroundreflectsthehardnessoftheline inthe

drawing

inthat

thematerialis rigid. The free chasingtechniqueis appliedhereand suggeststhephysical

movementofemotionthroughits tactilesurface. Copperwas chosen as agroundfor its

warmth in color andthepaint appliedto thesurface_reflectingthatwarmththrough their

cooltones. Thiswarmth creates an oppositeforthecool white ofthedrawing. Themetal

panel represents_visuallythatwhichisunderthe skin. Theviewer canrespond

by

again

empathizingwiththeemotiondepicted. Theapplication of paintto thesurfaceis

representative ofthelayersofinfluences and experiences wehavethatshapeus.

Using

thenatural outline establishedintheinitial

drawing,

Ihavecreated adepictionofthe

imageofinnerself.

Reflection #54 (seeillustration

7)

moves _awayevenfurther fromtheclassic and

beginsto_portrayamore emotional outwardself. As seenthroughafilterand_reducing

thecontours ofthefacetomovetowarda minimalist approachallowstheviewertomore

freely

interpret. This painting (see illustration

8)

is less obviousthantheearlier works

discussed. The blocks ofcolor, again

depicting

theheadofthe

body

_only, darkenaround

the figureaswellasaroundtheeyes andthe throat. Theviewer willdiscerna connection

withinhisorherown sphere of self-reflection. Therearenoright_answers,and no_wrong

onesforthatmatter.

My

intentionwasto_portraya somewhatdistant

feeling;

onethatis indiscernible

yetthereis abitof a

haunting

look,

especiallyaroundtheeyes. Tocreate theinnerself

forthis work,Iemployedthemirrorimageofthe_painting and appliedthe_{free chasing}

technique(seeillustration9). Ipushedand pulledtheindistinguishableto givethemetal

imagemoredefinitionthanthe

painting

_{eventhough thatimage is}

abstractionresultsfromthe_varietyoftextureand line quality left behind

by

the tool. The

artist'shandisevidentin shapingthisrepresentation ofinteriorself. There is definition

tothoughts andfeelingsthat the_paintingrefusestobeobviousabout.

This self-studyoriginated withthe ideaof_portrayingtheselfthrougha means

otherthan throughrealist portraiture. _{I began exploring}the workoftheAbstract

Expressionistsingreaterdepth. A focus withinthis_groupofartists wasthatan emotion

was capturedonthe canvasthrough theactionappliedto thematerial. AswithJackson

PollockandWillem de

Kooning,

theimportanceof_{the work, to theartist,}was

emphasizedthrough theprocessof creation. Itried to emulate thatstandard within_my

own work. Throughthis applicationI discoveredthatI disagreewithMichelangelo's

statement. I believe it is importantto_closelyresemblethesitter(inthiscase_my self).

My

questioning

lay

in choosing a particular style of execution. Eventhiswas

limiting

in

thatI felttherewasnooneindividualapplicationthatseemedto

"say

itall".

Throughthisabstract_{study I discovered}thatmore of_my selfcouldbe

represented.

By

_withholdingthatwhichwasnotnecessary,Icould more_clearly

articulate aspecific emotion. Iunderstoodthatmorethan_my outward appearance was

integralto _{communicating my}essenceto theviewer.

Exemplified

by

Clyfford Still'sworks

"originally

called

'self-portrait[s]'

itcanbe

read as arepresentation oftheartist reducedto the gestures/hemakes againstadark

void."2

Here,

it isnotthefinishedproduct,buttheprocess ofmark-making,thatwas

fundamentalto theidea. Iemployedthis

by

_{asking how}tocreate a portrait of an

emotion.

My

responseledmetocreatewith physicalfeeling. Iused_my

body,

_{my arm,}

2

Carter

Ratcliff,

"TheIdeaofOrder intheArtofClyfford

Still",

Art in

America,

December

2001,

page81

andthe

drawing

instrumentas anextensionof_{my hand} asthe_translator, themiddleman,

between theinnerself andthecanvas and/or metal sheet.

Paintingswere createdintuitively.

Originally

titled

'Sun/Son',

Reflection#166

(see illustration

10)

isaboutthetransitionfrom lighttodarkandvice versa. Itisan

expression of consciousness andthusa portraitofself. The textureisconcentric (see

illustration 1

1)

and refers to _mycyclicalthoughtprocessjustastheearthtravelsaround

thesun, asbirth leadsto deathandbackto rebirth, soare we caughtincircular

movement.

Theotherhalfofthediptych (see illustration

12)

iscreated_{using sterling} silver

and continuestherhythmicmovement created

by

thecirclesinthepainting. Thematerial

acts asa contrastto the_painting and pushestheideaofdarkto lightandbackagain.

Following

the standardforthis

body

of_{work, the}metalimageisthemirror's reflection.

Thisone,

however,

flipstheimageonce again_creatingyet anothercircle ofmovement

betweenthe twoworks. This movestheviewer's eyebackand_{forth creating}a

rhythmical_relationship thatrepresentstheparts oftheselfthatflow_{easily, the}partswe

acknowledge andaccept. _{This accepting leads}tobalance insideandout.

The finalpieceinthe_series,Reflection #34 (see illustration

13),

is a_sharp

contrastto theprevious example yetretains theviewer's attention

by bringing

him/her

backtotheoriginalstartofthestudy.

Here,

again,apenandink

drawing

(see illustration

14)

followstherealisttraditionwhere anaccuraterepresentationisthe standard. I

attemptedthisapplicationandutilizedblackand whitetorepresenttheserious nature of

such anundertaking. Thesitter retains aratherblankexpression ina_{mildlyconfronting}

manner. Sheis angled_{away from}theviewer andlooks overhershouldercasually. The

feeling

isoneofdetachment. _{The accompanying}metalpiece (seeillustration

15),

executedinfine silver(apreciousmetal), furtherexplores themirrorsimage and changes

thepose ofthesitter. Her head is bent forwardandhereyes look

down,

not atthe viewer.

Thecolors are reversed asif

looking

atthenegative ofaroll offilm. Thispositive/

negative grounddemonstratesthethesispremise. This work referstohowwechangeour

appearance tohidetruefeelings. The innerselfadjusts itsouterdemeanortoprotect what

weholdprecious,whatwedo notallowseen

by

others. We hide behindablankface so

as nottogive _away our secret. Theuse offine silverinthispiece reflects onthe

preciousnessoftheinneremotions.

Conclusion

This_studyhada

beginning,

with aproposal. Itsconclusion culminatedwithan

exhibition. Thesetwoends create atimeline between innerandouterunderstanding. I

beganwiththesurface of an

idea,

of_portrayingthe essenceof self. Iend withan

understanding and apersonalconnectionto_my work.

Addressing

theproblemof_portrayingthe essence of selfled metoviewtheself

as thecollaborationbetweentheinsideand outside. Throughthisthesis exploration,I

foundthatmore informationwasneededto

justify

theportrayal of essencethanwhat an

imitativeportraitcould_supplyto theviewer.

Working

withtheinneremotions andtheir

subsequent visualrepresentationcreateda more accurate portrayal ofself,yetit lacked a

specific connectiontome asthemaker.

My

solutionto thisparticularquestion wasto

utilizebothviewpointstocreate awhole work. I believethis tobea

beginning

of alife

long

explorationintothequestion of selfandisone of_manysolutionstoa problemthat

will_continuouslychangeandchallenge artists.

Illustration

1

Reflection

#16

Illustration2 Reflection#16

-detail

Illustration

3 Reflection#16

-detail

Illustration4

Reflection#39

Illustration5 Reflection #39

-detail

Illustration

6

Reflection#39

-detail

Illustration

7

Reflection

#54

Illustration8 Reflection #54- detail

Illustration

9

Reflection

#54- detail

Illustration 10 Reflection #166

Illustration 11

Reflection #166- detail

Illustration 12

Reflection #166- detail

Illustration 13 Reflection #34

Illustration 14 Reflection #34 - detail

Illustration

15

Reflection#34

-detail

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1840-1916,

New

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Art Instituteof

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Harry

N.

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197-198

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Richard G.

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1991

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The Worldas

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81

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Turning

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December

2001,

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