Inspired by Jaeyeol Han’s “Passersby, Flesh Off.” This work emphasizes the power of disjunction between the descriptive and the abstract. By manipulating the plain colors’ shift, I create both facial structure and the illusion of movement to be seen in one glance: revealing the swift evolution in contemporary life.

Inspired by Jaeyeol Han’s “Passersby, Flesh Off.” This work emphasizes the power of disjunction between the descriptive and the abstract. By manipulating the plain colors’ shift, I create both facial structure and the illusion of movement to be seen in one glance: revealing the swift evolution in contemporary life.

Based on my adaptation of Francis Bacon’s technique of discontinuous yet layered and rough brush marks that meld and mix together until creating one image. As the name ‘Enjambment’ represents a non stop sentence creating meaning the non-stop brush work, in the end a recognizable portrait.

This use of Francis Bacon’s technique of showing visibly rough brush marks, shows the false interpretation of completeness that can be achieved by the incomplete parts. Each stroke screams out as if it was raw flesh writhing under the skin, emphasize the appalling yet tremendous contrasts of humanity that hide within each and one of us.

This triptych series is influenced by Francis Bacon’s Three Studies for Figures at Base of a crucifixion” and Three Studies for a Self-Portrait.” The space is dominated on the faces to draw the viewer’s focus to them. Three views were used to create an illusion of the same head shifting from one canvas to another, similar to the panning technique in photography.

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