Bibliography

Bibliography

o JennySaville-The saatchi Gallery, www.saatchi-gallery.co.uk/artists/jenny_saville.htm, (19/03/08)

o Knead-1994/345, www.geocities.com/craigsjursen/1993_94.htm, (18/03/08)
o QUTart, www.artmuseum.qut.com/archive/news-event.jsp?news-event-id=6547, (19/03/08)
o Simon Mee- The suburban sweet, www.theblurb.com.au/Issue66/SuburbanSweet.htm, (16/03/08)

"Untitled-2006" Simon Mee.

Simon Mee’s “Untitled – 2006” depicts a mixture of 19 dolls and recognisable fictional characters standing and sitting in a pastel blue and pink urban environment.

As in the majority of his works, Simon Mee uses dolls combined with a pastel multi-colour scheme to convey a child-like innocence in his work. Additionally, Mee incorporates contrasting complementary colours in “Untitled’ – 2006”, in such relationships as Little Red Riding Hood’s red jacket, beside her green top. Although Mee uses a variety of colours in his painting, the composition is united by the use of different tones of blue throughout.

Using a variety of organic contour lines, Mee creates the form of the dolls, along with other objects such as the globe on which the baby sits (at the top of the painting). However, again in keeping with his personal aesthetic, Mee uses geometric lines in the background; creating a cold, contrasting urban backdrop relative to the form of, and innocence associated with the dolls.

Tonal contrast is strategically used by Mee to create a sense of reality and three-dimensionality in relation to the form of the dolls and the objects in his work. On both the left and right of his work, Mee uses a blue tint for the top and a blue shade for the side of each step, to suggest light shining from above. This technique is further utilized by Mee at the bottom of his work where a shade has been positioned beneath the dolls; mimicking shadows. As well as depth, tonal contrast is explicitly used by Mee to create the illusion of movement, as is highlighted by the grey tone used around the outline of the baby sitting on the globe. The doll appears to be leaning forward, out of the painting towards the viewer. Lastly, from the folds of fabric, to the hair of the dolls, texture is simulated through Mee’s application of varying tones of colour in specific areas. Mee replicates the smooth lustrous ‘skin’ or surface of the dolls by using; acrylic paint applied smoothly, leaving a glossy finish to emphasise the plastic surreal nature of the picture surface.

While Mee has created a complex composition of nineteen dolls in his painting; “Untitled – 2006”, he achieves harmony through creating an illusion of depth using negative space and perspective. In comparison to the congested area of dolls at the top, the dolls in the central and bottom areas of the painting are a different relative proportion and scale, thus creating interesting variation in the work, whilst balancing the levels of the composition. Additionally, the negative space in the centre and the receding scale of the stairs, also create a sense of perspective and depth.

Proportion plays a key role in forming the focal point; the two largest dolls in the work, placed in the middle. Apart from perspective and proportion, symmetry in Mee’s work, formed by the two corresponding stairs evenly spaced on both the left and right, emphasise the focal point, as a frame draws attention to a photograph contained within.

Simon Mee expresses his personal aesthetic and manipulates the elements and principles of art to resolve his painting and consequentially, weaves a message into the composition. At first glance, Simon Mee’s painting; “Untitled – 2006”, along with the majority of his works seem benign and innocent. However, upon further investigation, the sinister nature of the composition reveals itself. The first sign of this second nature is the expression on the face of the largest doll in the centre of the piece. Mee intends to evoke fear in the viewer; the doll could be alive and has an intimidating expression on its face, challenging the dominant ideology that dolls are harmless objects associated with innocence. Furthermore, the second sign of its malicious nature is the integration of naked dolls; exposed, exploited and watched by the clothed ones above in a judgemental and almost perverted manner. In addition, the well known fictional characters; ‘The seven dwarfs’, ‘Little Red Riding Hood’ and ‘Cinderella’ appear to be incorporated into the composition. Standing in a horizontal line at the top of the painting, some of ‘The seven dwarfs’ are displayed with disquieting expressions on their faces; challenging the average viewers’ childhood perception of them as being friendly. Mee also presents ‘Little Red Riding Hood’, in a manner which challenges the viewers’ image of her formulated from childhood storybook illustrations. Pictured with a large bust, wearing a miniskirt and make-up; Mee has transformed the character from a symbol of innocence to one of promiscuouscity. Another key factor in interpreting this work is the symmetrical staircases. On the left, a naked baby stands at the top of one of the stairs facing away from the viewer, whilst a more mature female doll; her chest exposed, walks down the flight of stairs to the right. The stairs can be interpreted as a symbol of a girl’s journey through childhood, where she is subliminally influenced by external forces which promote negative messages. Mee uses cartoons as an example of one of the external forces, being portrayed in a negative fashion, under their colourful camouflage. This concept is further supported by Mee’s incorporation of the fictional character, ‘Cinderella’ who underwent a transformation herself in her fairytale from a servant to princess; regardless of the scrutiny of her stepmother and stepsisters. Lastly, the judgement of others throughout the journey of childhood is represented in the composition through the symbol of the scale in the centre. The composition depicts the moment when a young girl with hands in prayer position, wearing a white dress; symbolising cleanliness, is being compared to a naked baby; representing impurity.

Saville’s “Knead-1994” and Mee’s “Untitled-2006”; whilst contrasting in appearance, share a similar message of the judgement women face due to their physical appearance. In keeping with her personal aesthetic, Saville emphasises the raw and vulnerable nature of her subject matter, rather than conceal it under a surreal disguise; as is characteristic of Mee’s works. Mee’s subtle expression of the negative impact of external forces, such as cartoons, conveys a warning to his audience of the influence the media have on women’s self esteem. Furthermore, Saville gives an explicit insight into the result of ones hatred of their own flesh, completing the next phase of Mee’s warning.

"Knead-1994" Jenny Saville

Jenny Saville’s work, “Knead-1994”, pictures the tightly stretched and sickly face of a woman with bloodshot eyes beginning to open slightly after face and eye cosmetic surgery. A purple oxygen tube is inserted into her mouth and the stitched-back skin around the woman’s ears and eyes ooze dark blood due to the pressure of tying the flesh together.

Saville’s uses an analogous colour scheme in, “Knead-1994”, comprised of the colours: red, orange and yellow to depict the flesh and the cool colours: green, grey and indigo used in the background and on the oxygen tube. The application of the vibrant red in the eyes, along with the intense yellow tint on the cheeks and eyebrows, works as a spotlight surrounded by shadow which makes this central area the focal point. In this work, Saville’s personal aesthetic is demonstrated by the central position of the focal point; a device often used in her works.
Saville also uses a green tint from the background to unify and resolve her work, by weaving the colour on the surface of the woman’s chin and forehead.

Here the woman’s face is realistic in appearance; as it is in proportion and Saville uses organic lines to convey the weight and irregularity of her flesh. However, Saville has juxtaposed geometric lines in the form of the oxygen tube inserted in the woman’s mouth to create contrast between the clinical equipment and the three dimensional vulnerable natural form of the woman. The woman’s face appears three dimensional as enhanced by the use of darker tones around the edged of the face and lighter tones on the top surface to create the illusion of depth and form. Also, Saville’s decision to leave the background as negative space, creates the illusion that the positive space, (being the woman’s face), is floating. Furthermore, as is indicated by Saville’s painting of the woman’s face with an abrupt end to her neck and hair, the image has been cropped to add further emphasis on the woman’s face. Additionally, her face is sloped on an oblique angle and therefore asymmetrical, contributing to other irregularities in the composition which are suggestive of the organic nature of this scene. While diagonal lines are often read as suggestive of energy, the weak state of the of woman; emphasised by her facial expression and the colour of her flesh, particularly in the foreground relative to the background, suggests that the only movement in the painting is the slight opening of her eyes.

The media used in this work is oil paint on canvas which Saville uses to her advantage to build up a range of layers of colour which create depth in the composition, (e.g. on the woman’s cheek).As will eventually be explored in greater depth; in a sense, Saville builds layers of ‘negative messages’ in the composition as scars leave their mark on flesh. The oil paint is an ideal medium used to create a realistic representation of human flesh due to its abrasive texture which creates the illusion of skin imperfections once applied to canvas. Through a manipulation of the elements & principles of art and media, Saville succeeded in creating a lifelike depiction of a woman immediately after cosmetic surgery, as is indicated by her bruised bleeding flesh and slightly opened eyes; suggestive of her weak state. However, Saville transforms her realistic illustration into an expressive channel for the communication of distressing emotions and negative messages by using synthetic, almost neon colours (e.g. on the woman’s cheekbone) and excessive negative space in the background to great affect.

The message of this composition being conveyed here by Saville is that some people, (women in particular), can be driven to plastic surgery due to their lack of self confidence, in the hope of ending their hatred of their physical appearance. The title,” Knead”, is a significant factor in the interpretation of this composition. The title “Knead” hints at the ‘need’ of a person to change his/her appearance to end their hatred of their own form and to be accepted by society. Another interpretation is that the woman’s flesh has effectively been ‘kneaded’ or reconstructed through plastic surgery. The emotional struggle of the woman is demonstrated by the weakness conveyed in her eyes, combined with the negative space around her suggesting she is floating or in a ‘dream-like’ state. The presence of the oxygen pipe inserted in her mouth keeping her alive, along with the intense artificial colours on the surface of the woman’s skin, emphasise her vulnerability.