Creative Artist - AU (2020-02)

buttheheadis facingto theleft.In this

caseyoucancreatea tensionwhichmakes

theviewerbelievethatourmeerkathas

turneditsheadquicklyandspotteda threat

whichwecan’tsee.Contrastthatwiththe

meerkatlookingto therightandhereyou

willsimplyseea conventionallyframed

photobutnostoryis beingtold.(Fig8)

Againif werelatethisto ourart,in the

followingpieceI havea lion“lookingout”

of thepictureto givetheviewerthefeeling

thatshehasspottedsomething,a threator

prey.“Lookingout”shouldbeusedfora

purposeratherthanaccidental.(Fig9)

In thethreefollowingcompositepiecesI

haveusedthetrickof “lookingin”to create

thatBradyBunchfeel(Fig10).I never

watchedtheshow,buttheopeningcredits

arefamouswiththeninestarsof thecast

lookingat eachotherfromtelevisionboxes

arrangedin the same way as my following

threescratchboards of marsupials, emus

andmeerkats. Of course the Brady Bunch

openingcredits were moving images so the

actorscontinuously turned to look at each

other,but in a static image it makes more

senseto have them all looking towards the

centrewhich focuses the viewer’s eye into

yourart.

Circlesor ellipses

WhenI was at college I had to analyse

thepainting “Bacchus and Ariadne” by

theRenaissance artist Titian (Fig 11).

Notonlydid I have to work out all the

symbolism in the painting (long before the

internetgave us all the answers), but I had

to create two different three dimensional

representations of the art. Bacchus, the

winegod, has fallen head over heels in

Fig 7

Fig 8

Fig 9

Tools

“Inthiscase[above]

youcancreatea

tensionwhichmakes

theviewerbelieve

thatourmeerkat

hasturneditshead

quicklyandspotted

a threatwhichwe

can’tsee.”

TOOLS

56 artists

By PaTrick HedgeS