Agnes Grochulska
Midnight (Portrait with Cobalt Blue Outline), 2020
Oil on canvas
16 x 16 in
40.6 x 40.6 cm
40.6 x 40.6 cm
Copyright The Artist
Further images
THE OUTLINE The outline acts as a metaphor here. It suggests a frame. It incorporates and roots the portrait in the traditional art of portraiture. It also represents the contemporary...
THE OUTLINE
The outline acts as a metaphor here. It suggests a frame. It incorporates and roots the portrait in the traditional art of portraiture. It also represents the contemporary aspect of the painting in its bold and vibrant expressive character.
The color choice is somewhat intuitive. I usually decide on the color at the very last stage of the process and just try to find one that works well. Hopefully, by doing both - adding a narrative and emotion associated with that certain hue, and working on a strictly decorative level as well. The way I think about the outline color is by choosing one that will either highlight the colors already present in the portrait or contrast them.
My hope is that the abstract form of the outline adds an emotional weight and highlights the human subject by drawing attention to the portrayed face they frame.
While my work is anchored in representation, I try to not only focus on depicting the details of my subject, but also try to capture the emotion - the essence of it. That particular “something” that drew me to that subject in the first moment. My paintings tend to transform a lot during the painting process and take a life on their own, like they want to be telling their own story…
There is a moment when I look at the painting and feel the emotion is there. This is the moment to step aside and realize the painting is finished. I remember reading somebody describe that moment as “when you look at the painting - and the painting looks back at you”. That’s it. That’s the moment I’m looking for.
- Agnes Grochulska
The outline acts as a metaphor here. It suggests a frame. It incorporates and roots the portrait in the traditional art of portraiture. It also represents the contemporary aspect of the painting in its bold and vibrant expressive character.
The color choice is somewhat intuitive. I usually decide on the color at the very last stage of the process and just try to find one that works well. Hopefully, by doing both - adding a narrative and emotion associated with that certain hue, and working on a strictly decorative level as well. The way I think about the outline color is by choosing one that will either highlight the colors already present in the portrait or contrast them.
My hope is that the abstract form of the outline adds an emotional weight and highlights the human subject by drawing attention to the portrayed face they frame.
While my work is anchored in representation, I try to not only focus on depicting the details of my subject, but also try to capture the emotion - the essence of it. That particular “something” that drew me to that subject in the first moment. My paintings tend to transform a lot during the painting process and take a life on their own, like they want to be telling their own story…
There is a moment when I look at the painting and feel the emotion is there. This is the moment to step aside and realize the painting is finished. I remember reading somebody describe that moment as “when you look at the painting - and the painting looks back at you”. That’s it. That’s the moment I’m looking for.
- Agnes Grochulska