The options here include a photograph of myself, of one found on the internet, or of one of 20 ink sketches of myself via a mirror.
I chose to use a photograph taken by a friend many years ago because I like the deep contrasts he achieved. His job was actually to photograph fossils for the Natural History Museum in London but on this occasion he got to the specimen before that happened!
I’m going to think about what I might add to these – all or some of them. I’m tempted to leave the very minimal ones alone and perhaps just add a few painted or ink-drawn marks on some of the others.
Tiny touches of fineliner to three of these:
This really just adds a note of definition here and there. I think I might have been channelling the 1960s in the first and third of these; it was ubiquitous – not quite Beardsley, not quite stained glass, and not quite uninfluenced by exotic substances much of the time!
What do I take from this? I think it’s that there is value in a technique that places a degree of distance between the painted image and the outcome. In this case, there is a second degree of distance with the subsequent prints made from the first prints and I’m drawn more to those in some instances than to the monos because of how rudimentary but essentially communicative they are.