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e-David self portrait | Liat Grayver | available artwork

Liat Grayver

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e-David self portrait

Painting
Robotic painting, acrylic on canvas
2016
60 x 80 cm | 23,6 x 31,5 inch
Offered by: Artitious | Berlin, Germany

3.900,00 € (+ VAT, Insurance & Shipping)

Editor's Notes


Painting is a practice in which a complex architecture is constructed of separate sections that interact with each other as a whole in the form of a unified composition. While working on the e-David Self-Portrait , I became aware of the need to divide the painterly process into different categories, looking into the different paths of the physical act (characteristics of individual brushstrokes) and cognitive decisions (semantic vs. abstract recognition of geometric forms) that the painter uses in the process of decomposing and reassembling visual information and material elements into a painting. More than that, the ability to save each step in the painting process, to compartmentalize and conglomerate information and action in different constellations, opens up a new field in the painting domain, which explores the space between abstract and figurative painting.
The e-David Self-Portrait is based on a photograph of Lindemeier working with the robot in the lab . I first made a colour pencil sketch based on the photograph, incorporating various decisions about perspective and composition . This sketch was then used as a reference to prepare a working image on the computer using the image editor Gimp (GNU Image Manipulation Program). I deconstructed the photographic image into areas delineated by masks that were, in contrast to the colour field masks of the previous portrait, defined by geometric forms . During this stage, I rearranged and manipulated the structural elements, namely the geometrical forms (as opposed to semantic, recognizable objects, or definitions of colour) to create the final working image that the e-David would use to create the painting. Finally, using both the source image and the sketch as references, I continued to create the masks and programme the brushstrokes interactively during the execution of the painting. This made it possible to have each individual mask executed with a different colour and an appropriate set of brushstroke patterns. This layering, combined with the incorporation of the colour fields into the geometric masks are what allowed us to develop a degree of depth in the painting that we had not previously been able to achieve .

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