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While many artists strive to bring the illusion of three dimensions to a flat surface. American installation artist Alexa Meade does the opposite. By painting her portraits on the human body, she causes them to appear flat when photographed for a mind-bending illusion that tricks the viewer. Challenging the viewers to blur the lines between reality and fantasy, her acrylic body painting pushes the boundaries of art. 5.collage Love-so many times explaining the same same thing, We see a portrait of a screaming man ,the top of his head opening up to reveal red smoke escaping .Beneath the portrait, the artist has scrawled the words "You used to drive me crazy , but now I don't feel anything". Loss and death are also processed through collages.
The research paper contains information related to Contemporary Philippine Arts from the Regions. It was a research work for the said subject.
HAU: Journal of Ethnographic Theory
Body painting uses a three-dimensional living canvas. While a widespread activity that can be characterized as a creative cultural scene, it has not yet merited anthropological attention. Even though body painting is closely related to the body, it is ultimately often about overcoming this very body. This process already takes place during the creation of the painting, when the model's body is transformed into someone or something else, but even more so when it comes to the resulting visual representations, the photographs, in which the person's body recedes into the background in favor of the overall picture, the artwork. The twofold staging-becoming a three-dimensional work of art and then being staged for a two-dimensional photograph-gradually distances the body from the model and gives them the chance to appreciate the photograph of their painted body in a different light. While physically and emotionally challenging for the model, body painting is also experienced as psychologically beneficial. Such research findings open up new possibilities for art therapy.
2009
access to global ideas and materials. Sixty-two oil paintings were examined and, unlike the works in the fi rst case study, were mainly secular in their subject matter. The majority of works are by artists connected to the University of the Philippines School of Fine Arts (UPSFA), then the art academy in the Philippines.3 According to Luciano Santiago, the early twentieth-century works in the JB Vargas Collection ‘reads like the who’s who in the history of art in the Philippines’4, and one could consider it to represent oil painting practice in the Philippines during this time frame. The key objective is to review the material evidence in view of the artistic discourses that informed each practice, whether they were Western, indigenous or Chinese in origin, or something other than these. The supply of materials and production processes in the Philippines is also another area of investigation that allows us to assess the material options available to artists and why certain products ...
Environment-behaviour proceedings journal, 2023
This study explores diverse artistic styles in Malaysian female artists' works, stemming from varied approaches and mediums. It aims to dissect how these styles evolved, influenced by local and international art histories. Artworks scrutinise their distinct styles, unravelling the interplay between ideas, content, and context whereas literature clarifies the style of the visual artworks that are embedded in their artworks. Discussion according to their theme and how the technique, medium and, of course, will share a new direction and contribution of style portrayed in every artwork. The artworks' content and context, showcasing the artists' innovative contributions to the artistic landscape.
Art & the Public Sphere, 2018
Hi Eileen Legaspi-Ramirez thank you for agreeing to this online interview. We have worked together under the Ambitious Alignments project in 2015, though the project was under a different research, I also know that you have worked with the community realms back in the Philippines. On behalf of the Art & the Public Sphere journal, I would like to thank you in agreeing in sharing with us the arts engagement especially within the construct of the larger public sphere in the Philippines. Eileen Legaspi-Ramirez (E): Always happy to share from where I'm able, Sarena. Thanks too for your interest! S: When we are speaking art and the public, one of the section in mind are the communities, who are the major artistic communities in the Philippines?
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