Igor Savchenko Analysis- Alphabet of Gestures: Edition 28



My analysis of my second Artist- Igor Savchenko



Alphabet of Gestures, edition 28  

Size: 14x16cm    Date: 1993     Media: Photograph



This photograph is the 1993 work of Igor Savchenko as part of his 30 part series named Alphabet of Gestures. The title of the series makes the body langue displayed in each image seem little more than mechanical empty “Gestures”. In addition to this, by using the word “Alphabet”, Savchenko further instils the idea of regimentation.

 As with all the photographs in this collection, the emphasis is upon the body language displayed by its subjects. In this photograph in particular, the rule of thirds is extremely evident. By framing the primary subject’s hands in the middle of the photograph our eyes are immediately drawn to her hands.

When analysing the body language exhibited by the subjects, the photograph takes on an increasing unnerving feel. At a first glance we instantly notice the female’s hands, due partly to the photographs framing and lighting. The way her hands are positioned almost seems to suggest an unsettling awkwardness as she clutches onto her (possible) purse. When looking again we spot another hand in the shadows of the image. The hand seems to be male and as we look closer we spot the position of his hand; it holds the woman’s left hand down between his thumb and index finger.

The angle of his hand seems to suggest that the owner of the hand is standing, whereas it is clearer that the woman is sitting- showing an obvious display of superiority. However the photograph is completely open to interpretation which is partly down to Savchenko's omission of faces or full bodies, therefore the photograph is exceptionally objective.

Frida Kalho Response: Graphics Tablet

Though Frida Kahlo predominantly works in oil paint, I wanted to create a response that used a completely different media yet retained the same themes that are presented in Kahlo’s work. Therefore I decided to create a self-portrait inspired by her painting The two Fridas using a graphics tablet to make the work feel & look more contemporary.

The two Fridas- The inspiration for my response

I created a video chronicling how I created my response:

 

 

 

My final images:

 

Black and White version

Colour Version

 

Scanned images with manipulation

Though I liked my simple scans of my hands, my favourite images are the stretched images which I created by following the scanners process to elongate my hand. In other scans I took this further and multipled my hands by moving them throughout the scanning process.

Simple scans:

Moving scans:

Frida Kahlo Analysis- Frieda and Diego Rivera (1931)

After choosing Kahlo as my first artist, I chose to analyse her  1931 work: Frieda and Diego Rivera.

 

 

Frieda and Diego Rivera

Date: 1931    Media: Oil on canvas

Scale:  100.01 x 78.74 cm

Frieda and Diego Rivera is a 1931 painting by iconic Mexican artist Frida Kahlo. The painting is a self portrait of herself and her husband Diego Rivera. Created by Kahlo in San Francisco whilst she visited the united states with Rivera (the first time she had left her native Mexico), the painting depicts the couple holding hands in a stark beige room. 

Primarily known for self-portraits, Kahlo’s use of her husband as a second subject is unusual; however she still uses her preferred media of oil paint, signifying familiarity. At a first glance the scale of the subjects seems distorted; Rivera on the right seems completely disproportionate when compared with the small stature of Kahlo on the left, in particular the juxtaposition of their feet creates an even greater a feeling of Rivera dwarfing Kahlo into insignificance. It could also be argued that Rivera’s dominance in the painting echo’s their relationship. Kahlo married Rivera when she was 22, twenty years his junior, therefore their difference in stature is explained. However their stance seems to display an imbalance in equality, Kahlo places her hand tenderly in Rivera’s hand, her other clutching her shawl and her eyes gazing indirectly into the foreground.  Whereas Rivera stands tall, staring directly at the viewer, with his hand placed underneath Kahlo’s, which seems almost childlike in comparison.

Despite the supremacy displayed by Rivera, the pigments used by Kahlo to depict his clothing are monotone. On the other hand Kahlo has used tones of green for her dress, yet her bright red shawl overshadows all other pigments in the painting. By coupling the comforting shawl that is draped around her body with red, a colour synonymous with danger and passion, Kahlo has created a feeling of protection. This echoes the context of the painting as Kahlo had left her native country for the first time with her husband, who was the only person she knew.

Body Language

After been given my exam questions for unit four, the one that stood out the most for me was Body Language:

Body Language- Many Artists have used their observations of body language to express moods and emotions. Examples can be seen in the work of William Blake, Edgar Degas, Ernst Barlach and, more recently, Sam Taylor-Wood. Look at appropriate examples and, from your own observations, develop a personal response.

igor savchenko

Other questions included two subjects that I have explored before, Urban Societies (in my Unit three project) and Art as propaganda (in my unit two project). The only other question I had an interest in was The closely observed, but I felt that this subject would be limited to focus on.

Although I am not a very accomplished portrait artist, I have ventured into oil paintings and other traditional media. However, in this particular project I would like to focus mainly on photography. Having said this, I don't think I will use any of the artists mentioned in the question its self- except perhaps Sam Taylor Wood. Most of the artists mentioned are very traditionalist painters- a form of art that I don't enjoy and cannot emulate. Instead I have chosen artists such as Frida Karhlo, Igor Savchenko, Rudolf Bonvie and susu Larchoche. Despite being predominately photographers, I don't feel limited to only creating photography responses to them as some of their work lends its self to other medias such as sketching, print making and digital manipulation.