My Written Thesis

The sculpture I describe in my thesis will be what I show in DAAP Works.  The opening is on April 22nd at 5:00 p.m.  Please come and support the Fine Arts class of 2014!

There comes a moment in every college students life when they have reach a moment where they can see the end result of all those years of education coming together and I have found that moment.  It is terrifying and exhilarating all at once.  I cannot express with words how difficult it is to put one's art down on paper.  It is truly one of the most personal difficult things an artist can do, like laying your naked heart out for everyone to view and judge.   But this is my art and this is who I am.  Enjoy. (Note: I apologize for any changes in font or weird spacing.  Transferring this from a word document to the blog was quite interesting.)

Two-dimensional Expressions in Three Dimensions

Makeup has been around for nearly 6,000 years with the Egyptians using lead ore as the first cosmetics (WebMD).  As the worlds view of beauty changed, the cosmetics changed with it.  For centuries, women have gone out of their way to achieve societal beauty, going to such extremes as leeches to gain a paleness of their skin.  In modern times, makeup is far from dangerous, however, with the advancement of medical technology makeup is no longer necessary to visually alter a person’s features.  Plastic surgeons can literally change facial features.  Makeup is the application of a medium to a three-dimensional subject, not just cosmetics to the face, to create a substantial visual change in what currently exists, to bring forth the extraordinary from the ordinary.

Makeup is a fascinating subject because people alter their facial and bodily features, three-dimensional surfaces, with two-dimensional substances to make them look different, sometimes to the point where they become unrecognizable.  For instance, adding a dark pigment halfway down the cheek in a horizontal curve can sharpen the cheekbones and make the person appear thinner.  The face is the most prominent part of the human body used for identification.  Thomas Morawetz examines the significance of faces in his book, Making Faces, Playing God: Identity and the Art of Transformational Makeup,

“Faces matter insofar as they are natural, not artificial.  Identifying persons and holding them responsible for what they do depends on the fact that they have one and only one unique and natural face for life.” (Morawetz, 4)                                                  

People rely heavily on faces for recognition—one rarely looks to someone’s hand or feet to figure out who they are; it is the face that assures identity and helps gain individuality.  The world would function very differently if every male looked identical, as did every female.  It is natural for the human race to accept identification through visual information.  A study at MIT concluded that people take notice of a person before visually processing the features they see and are able to identify the individual; which is why people confuse other people’s identities at a glance—they did not have enough time to visually process who they were seeing (Grill-Spector/Kanwisher, 159).  However, small changes to the face such as a piercing do not create a lasting visual confusion to the observer.

“And our powers of recognition go beyond our powers of imaginative recall.  We know that we can recognize Jones even if we not sure he still has his mustache and still wears glasses.” (Morawetz, 4)

In other words, small changes to the face can occur, such as the loss of facial hair, and people can still be recognized.  Often, makeup applications do not alter a person’s looks so much that they are unidentifiable, but the power to do so exists.

Makeup is a temporary alteration to appearance that can be easily removed and therefore does not cause a lasting change to one’s identity. Plastic surgery, however, is a permanent, physical change to a person’s appearance and therefore, by its very nature, a change to a person’s identity. (Or in the case of gender reassignment or transition, a way for a person to express their true, internal identity in a physical manifestation.)  Contemporary artist Orlan uses herself as her medium for Carnal Art, the act of getting surgeries completed to modify her body to create a dialogue about the standards of beauty towards women (Orlan’s Surgeries). 

“From 1990 to 1995, she underwent nine plastic surgery operations, intending to rewrite western art on her own body. One operation altered her mouth to imitate that of François Boucher's Europa, another changed her forehead to mimic the protruding brow of Leonardo's Mona Lisa, while yet another altered her chin to look like that of Botticelli's Venus.” (Stuart Jefferies, 2009)

The act of her art is so unnerving because she is capable of altering her features beyond ‘normal’ visual identification, threatening what society finds familiar and safe.  She no longer looks like the majority of the world’s population and her face is literally unnatural.  The intense commitment this artist has to her purpose is astounding, and to many it is also ludicrous.  Jane Addams Allen wrote about Michelangelo’s Last Judgement once being considered “the great progenitor of “offensive” works of art” in “The sacred and the profane: A continuing story in western art”. (Page 18)  Michelangelo’s Last Judgement was controversial before it was even unveiled and was considered by a critic from 1545 that the masterpiece was too obscene for a church and belonged where a comedy would be performed (Allen, 18).  Orlan is always conscious during her surgeries, has music playing in the background, and wears costumes during the live broadcasts (Orlan’s Surgeries).  The process of the surgery itself is unnatural since surgeries are typically carried out in silence with a patient who is unconscious, and is dressed in a hospital gown.  Her main goal is to change what people see as beautiful and believes so strongly in her purpose she is willing to permanently lose the appearance she was born with (see Figure 1). Michelangelo was never considered a master during his lifetime and it is possible that Orlan will never be seen as beautiful or normal in her lifetime.  Makeup gives me the ability to transform myself into whomever I want to look like for a brief moment in time without a serious lifetime commitment.  There is a freedom with makeup that plastic surgery does not permit and that is the flexibility to change one’s mind about whom he or she want to be. Self-image is very important and makeup empowers its wearer to feel how they look on the outside.

Contemporary photographer Cindy Sherman creates work that is far less unnerving than Orlan’s to viewers because her transformations are not permanent.  Using her face and body as her canvas, Sherman creates the illusion that she is someone else entirely.  To build upon the visual illusion, Sherman chooses the backdrop, articles of clothing, and accessories to support the makeup application and the overall transformation she goes through.  Sherman proves that a narrative is necessary to create a successful illusion.  In her untitled series Society Portraits, she dresses herself up in clothes, uses props, and applied makeup to represent the women of California such as the Divorcee and the Personal Trainer and is so successful to the point that her audience at a gallery could not recognize her (see Figure 2).  Not only does she transform herself physically but she also acts the part with a pose and a fitting facial expression for whom she is portraying.  This series is significant because the women she portrays in her work are often exemplified in her audience at the gallery.  Sherman is commenting on the roles her subjects play in society and the obstacles they face with just a glimpse into their lives with just one portrait.  When I look at this series, I feel a wonderment that one woman can represent so many other women and lose herself in each image. 
Sherman and Orlan are not the only female artists to use their body as a vessel for her art.  In an art review about Cindy Sherman’s work over the years, Leah Ollman gives examples of other female artists, specifically during the mid-70s, whose art shared the manipulation of their appearance in their art,

“Eleanor Antin had charted her weight loss in a photogrid and began to assume alternate identities on both ends of the gender spectrum — king and ballerina. Suzy Lake photographed herself applying masks of makeup to impersonate her friends. Lynn Hershman adopted an alter ego, Roberta Breitmore, who carried on an alternate life in the real world. Martha Wilson made videos transforming her face into what she said represented her best hopes and her worst fears and also created a composite character together with Jacki Apple.” (Ollamn, 1)

To build upon what has already been archived in contemporary art for makeup and using visual transformations, I wish to contribute by going a step further and use makeup techniques with a medium that will act as makeup on a three dimensional subject that represents the human figure.  Makeup artists use colored pigments, shading and perspective to be deceptive with their work.  Each face is a sculpture of it’s own creation.  The skin is a malleable entity that adapts to weight gained and lost, exposure to weather conditions, and shows the tracks of age over time.  Through the exploration of the medium of makeup, when added to the skin, I have discovered that it shares the same qualities of fine art mediums such as oil and chalk pastels when applied to paper.  The steps when applying makeup to the face are reminiscent of using oil paints on a canvas.  First you begin with a base coat, or foundation, and then continue with layers of paint or makeup until you have built up a finished product.  Makeup artist Valeria Kutsan recreates works of art with makeup (see Figure 3), 

“Rather than using oil and canvas, Valeriya Kutsan recreated iconic works by top artists Leonardo da Vinci, Andy Warhol, Roy Lichtenstein and Piet Mondrian with face paint and make-up.  Through the clever use of bold colours and outlines, her creations appear to be two-dimensional.” (Alex Ward) 

My body of work is the exploration of taking what would be applied to the face and using makeup on surfaces such as paper.  Advancing my investigation has led me to using colored pigments that could read as makeup on sculptures.  The makeup as the medium plays a role in various degrees whether it is accompanying a larger sculpture or is the only element on paper. 

In February of 2013, I was presented with the opportunity to design a character for a local high school production of the operetta The Pirates of Penzance (see Figure 4).  After the life changing experience I made the decision to pursue a career in theatre makeup and simultaneously my art began to reflect my career choice.  To begin my artistic journey with makeup I focused on becoming a makeup artist and applying the medium to a model of my choosing.  For a film photography class I photographed models with makeup that I had designed.  But I felt that I could use makeup for more than what it was intended for.  I was looking to connect visual art and theatre by using art materials in place of makeup in a headshot.  Experimentations began with the Clay Reacts series (see Figure 5), a photography based project of five images of a female with clay on her face in place of makeup.  To further engage in proper research and education about makeup, I signed up for the spring semester of Intro to Costuming and Makeup at the College Conservatory of Music.  This course covers stage makeup techniques and styles using Ben Nye company makeup, basic costuming for a character in a performance and visual research portfolio methods.  I became the model and the makeup artist for this class since we are required to apply the style of makeup we learn to ourselves since we know our own faces best.  Theater makeup styles covered in this class include corrective male and female makeup, age makeup, anger makeup, sad makeup, and round face makeup.  This led to a better understanding of a makeup artist being like a portrait painter—finding the highlights and shadows, bending them to the artist’s will to achieve the desired illusion.  I began to view makeup as more than something that can be used on the human face, since it shares the same qualities as other art media.  I asked myself, “why not use makeup as I would any other art material on a piece of paper?”  Thus, I borrowed a technique from printmaking and soaked Lenox paper in water and then pressed it to my face to absorb the makeup I had applied there.  The transfer was successful and the paper held an imprint of my face.  This led to thoughts of using makeup on objects, in sketchbooks, on canvas, and beyond to more abstract options. 

I found myself unable to dislodge the connection between faces and makeup; I wanted to push the boundaries of the human face and still keep makeup in close relation.  Orlan served as a strong source inspiration as did other individuals such as the ‘human Barbie’ Valeria Lukyanova who go to such extreme lengths to alter their physical appearance beyond the means of makeup (see Figure 6).  Wanting to push the physical boundaries of the human form through sculpture I developed the concept of the human merged with an animal’s bone structure.  This goes beyond the plastic surgery of Orlan as it combines the skeleton of another species with that of a human.  The focus of the piece is to show alterations to the human face and show the impermanence of what should be familiar, which is now foreign.  People should be made aware of how adaptable the human figure truly is whether it is temporary or permanent.  There is a lot that can be taken from a person—jobs, loved ones, homes, and money, even freedom.  The way a person looks, the way they were born, should not be taken away from them without their consent.  Women typically are the most targeted in digital alterations of the body.

“Essentially, “the feminine ideal is tanned, healthy slenderness, with no unsightly bumps, bulges or cellulite, and bodily and facial perfection that results from hours of labor: exercise, makeup and hair care” (Coward, 1985) – and 30 years later, plastic surgery and Photoshop. This unrealistic form is consistently represented across almost all media forms, along with blemish-free, wrinkle-free, and even pore-free skin, thanks to the wonders of digital manipulation as an “industry standard” that is openly endorsed and defended by magazine editors and media makers the world over.” (Beauty Redefined Blog) 

Technology has advanced to the point that identity and privacy have become threatened.  It is now impossible to trust an image in the media because everything is airbrushed and Photoshopped.  Performing artist Lady Gaga is the embodiment of temporary alterations to the human body.  Gaga wears multiple outlandish wigs, costumes and makeup in each of her music videos, performances and public appearances.   She has done everything from adopt a male alter ego, Jo Calderone, and performing as him to wearing a dress made out of raw meat.  Sometimes she wears prosthetics to enhance and alter her features temporarily such as triangular cheekbones or horns (see Figure 7).  I consider Lady Gaga to be one of the greatest artists of our generation because she uses performance art to take her music to the next level and every look she wears has meaning and purpose to her.  Gaga is proof that alterations to a person’s appearance can impact and be temporary.

For the sculpture that would combine both makeup and physical alterations, I started with carving a bird skull so that it would match the size of a human skull out of wax and cast it in bronze.  I took partial molds from a male model and sculpted a life size male bust in wax with the bronze bird skull implanted in the face and cast that in aluminum.  Both metals can be brought to a bright shine by buffing out the surface.  This allowed myself the opportunity to create and accentuate the highlights and shadows of my choosing by using patinas, a chemical compound used to color bronze, aluminum, copper, etc. on the metal as “makeup.”  Makeup does not necessarily have to be pigments safe for the human face; a painter uses paint when painting the makeup on a clown, not actual makeup.  By using colors to create depth, highlights and shadows on the piece, the patinas will act as makeup would and I will contour the face and the avian features this way.  My goal is to use what I have learned about makeup for the face and apply it to the sculpture of a human but not use actual makeup.  I will use the other medium that will act similarly to makeup to see if I can achieve the same effects that I would with a real person using actual makeup.  Ultimately, I will be using not be using makeup but employing makeup techniques with a medium on a sculpture of a human that has been disfigured and is not considered ‘normal.’  I have thus created artistic plastic surgery to mutate into the ideal sculpture of the human form.  Additionally I will be using another medium besides makeup to serve the same purpose.

Makeup is a large part of present day society in the United States.  In every day life for many women and some men, it is a daily ritual.  The theatre industry, the fashion industry and the movie industry all rely heavily on makeup’s transformative qualities—so much so they give out prestigious awards for its application.  Makeup has been used for thousands of years. For the majority of that time frame, it was dangerous to use the various pigments and techniques that were used to achieve certain beauty standards.  Dr. Aimee Marcereau DeGala’a dissertation entitled “Dangerous Beauty: Painted Canvases and Painted Faces in Eighteenth-Century Britain,” found that 200 years ago, the makeup the women wore and the paint the artists used for painting these women were both deadly.  In an interview DeGalan points out, “Both substances contained lead and mercury.” Women knew their “pursuit of beauty” was potentially fatal, she adds, and yet “they continued it with abandon.” (Pamela Polston)

“The make-up they used caused the eyes to swell and become inflamed, attacked the enamel on the teeth and changed the texture of the skin causing it to blacken, it was also not uncommon to suffer baldness, and for a time it became fashionable to shave the front hairline. It was known that heavy use of lead could cause death.” (Emma Chambers)

Today, the most common side effects of using certain cosmetics are rashes, change in skin texture, clogged pores, and acne (Livestrong.com).  I was unaware of these facts about cosmetics when I constructed my sculpture out of aluminum and bronze.  However, I knew from the beginning that the patinas I would use for makeup on the sculpture are dangerous and impossible to be used on humans.  This was not an intentional decision on my part, it just so happens that my choices of medium reflect and exemplify the unsafe past of makeup.

Women, and some men, go out of their way to change their appearance to the extreme in the forms of sex changes, eating disorders, drag, plastic surgery and use makeup to achieve the final look, hide the circles under their eyes, add color to their cheeks, or hide the scars from their physical alterations.  Makeup is the accompanying factor to finish the puzzle, not the main piece.  Tutorials flood the Internet of how to do makeup to get that flawless contour look, how to use bronzer to look tan, how to use tissue to look like a wound so as to resemble a zombie, etc.  Convenience stores, grocery stores, online shopping websites, and mall makeup counters create easy access to makeup for the ‘natural look’ all the way to highly saturated pigment makeup created to last for hours at a time.  All of makeup is used to either cover up what already exists or enhance it.  At the moment, for the majority of the world, what already exists is generally considered normal.  However, with technology’s constant advancement, it is likely that someone will attempt to alter his or her bone structure with more than just the help of makeup.

            For the past ten years, I have developed my makeup skills through the personal application of trial and error.  Until just over a year ago, makeup had been a very private experience.  I have always found the medium to be empowering when used correctly and often received positive responses from others.  When I was younger, my makeup was very subtle and repetitive; I wore only green or purple eye shadow for the first three years.  Gradually more colors were added to my repertoire and it became necessary to purchase a piece of furniture dedicated solely to storing my makeup and supplies.  The ritual of applying makeup is deeply personal because I want my exterior to reflect how I feel inside.  

“Do not let your adorning be external—the braiding of hair and the putting on of gold jewelry, or the clothing you wear— but let your adorning be the hidden person of the heart with the imperishable beauty of a gentle and quiet spirit, which in God's sight is very precious.”  (1 Peter 3:3-4)

I have always wished to be more than what I am and makeup is the instrument that makes me feel powerful.  My confidence abounds when my makeup is brightly colorful and flawless because I become more than who I am underneath.  My personality becomes visible on the surface of my skin as my makeup often reflects my mood before it compliments my outfit.  This process has improved both my skills as a fine artist and a makeup artist, the similarities between makeup application and drawing/painting the face are far greater than I had ever believed.  Most importantly, makeup, like art, is an outward expression of the inner being.

            Gene Simmons was once quoted, “The makeup is simply an extension of the personality and colors, clothing, makeup all express something.” (Confessions of a Doll)  Makeup is a beautiful medium; the material gifts people with the chance to look different, to be someone else for a brief moment in time, allowing for individuality and self-expression.  Over the past century, the art world has expanded its horizons and has no limits—plastic surgery is now a performance art.  Applying makeup is a daily ritual for myself and art gave me the avenue to push my understanding of what makeup means to the world and me.  The word makeup broken down is simply “make up.”  When this word was created, was the meaning to make up for something that was not there?  Or was the definition meant to make people believe what they see is there and that it truly exists?  I believe makeup is more of a verb than a noun; it is the act of applying a medium on a three-dimensional subject to alter the appearance.  Therefore, makeup is not required to be cosmetics, the medium used is required to visually alter the three-dimensional subjects appearance.  I believe that makeup is highly powerful for anyone who uses it.  In the dichotomy of an individual being who they are versus being who they want to be makeup is the element that makes that possible. 

Figure 1

Orlan

Fourth surgery

1991

Figure 2

Cindy Sherman

Self Portrait

2008

Figure 2

Cindy Sherman

 The Divorcee, Society Portraits

2008

Figure 3

Untitled

Valeria Kutsan

Figure 4

Pirates of Penzance

The Pirate King before and after

2013

Figure 5

Clay Reacts iv

Digital Print

2013

Figure 6

Ukrainian model, Valeria Lukyanova

The human Barbie

Figure 7

Lady Gaga

2011

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