| Beauty is in the eye
of the beholder? I think not. The beholder's eyes have been so
conditioned by our media and authority figures they cannot be trusted. |
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And what of the model's eyes? What if the model has
no eyes? This forces the beholder to look within also, and, looking
there, find something new to project- something not always wholesome. |
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| Would that the beholder's eyes could be really opened. One way we
have of doing this is to open the model's eyes. But not just open. Focus
them out of the frame, on some unseen, hence unknown, object. |
Is that fear in the swimmer's eyes,
or lust? |
 Artist's
"self portraits" are highly marketable, which is why there are
so many. But consider the portrait of the artist at work. What makes
this image so romantic,- so seductive? The intensity of his focus, fixed
at the most removed from himself- the most outward. All his skill and
energy focused on perceiving and capturing. There is no 'self' anymore .
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Mastery at it's most vulnerable. How seductive can you get. |
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| But what if the subject sees you? Do you
look back or inward? It is a challenge as much as a greeting. It forces
us to look for other clues, such as clothing, background, posture and
body language, before we can safely respond. |
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What we see here is apparently a boarding school boy
still in school uniform. But what about the hat?
And then there is
the unspoken question . . . |
What is a schoolboy doing
in the woods? |
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Continued . . . |
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| BACK |
HOME |
FORWARD |
Artist's
"self portraits" are highly marketable, which is why there are
so many. But consider the portrait of the artist at work. What makes
this image so romantic,- so seductive? The intensity of his focus, fixed
at the most removed from himself- the most outward. All his skill and
energy focused on perceiving and capturing. There is no 'self' anymore .
. .
