Facial recognition has long been predominant in human creativity and expression. However, with Artificial Intelligence (AI) on the rise, I tackle the argument that facial recognition has become a modern phenomenon purely associated with technology rather than biological instinct.
The link between portraiture and facial recognition, in regard to modern technology, could be seen as highly effective in terms of reaction and interaction; therefore, an approach where information intake is more successful. As a result, I create works that interact and enhance the relationship between the painted subject and the public through the theme of perspective, illusion and the gaze.
A reoccurring motif in the majority of my works is the theme of truth and illusion; this is presented through three-dimensional spaces and complimented with the Chiaroscuro effect. The influence of classical artists such as Michelangelo Merisi da Caravaggio and Andrea Pozzo are imbedded in the process of my painting practice. While my contextual influence of ‘painting people from the inside out’ derives from the modern portrait painter Emma Hopkins, as she similarly marries psychology and sociology with Art to form scientific studies of her subjects.
Furthermore, the circular (Tondo) structure to my works gains inspiration from 16th Century miniature portraits where their importance of the subject’s identity and cultural significance, reflects the argument that not all visual representation of subjects are physically true.
The goal is to create paintings that present the context of my work in an engaging manner; be it how the work is physically presented or how the painted subjects gaze interacts with the viewer - therefore almost involving the audience in a social experiment.
The technique of ‘Arte Útil’ (active art) is the driving force to my future works as audience involvement and active learning is what makes the artwork successful.
Just like in quantum physics, I strive for the observer to
influence the observed.