Jenny Saville
Jenny Saville art can't let you indifferent,the modular shape of the human body in an imperfect stage,disseased with obesity,wounded and crushed again the canvas disgust and intrigue many.It may irritate,attract and even meet with refusal,but whatever effect it has,it can't never be considered superficial or washed out.
There is an odd erotism in her art work where the nudity of the female body becomes something intimate yet simply carnal and sickening.The brutal harshness of the image,together with its carnal tenderness gives the image a familiar feeling,there is nothing more than a stranger but the figure, the face ,the look reveal a universal person,maybe the girl that was standing near you on the buss, or the salewoman in the grocery store.
The composition structure is arranged in overlapping with a perspective almost scrunched up and crumpled on a surface that appears to flatten very image.Almost like a television screen or pressed down under a window.
The use of color,in its vitreous transparency,helps bestow upon the figures a mixture of tragic elegance and crude expressiveness.Acid greens,sanguine reds,and sharp.biting blue envelop the figure.
Savile embraces heaviness on many levels.The paintings for which she is best know are materially heavy-thik with paint and of impresive dimensions,and then the women she depicts in them are ones we perceive as heavy.Reviewers have spoken of ''repulsion'' ,''brutalized femininity'' and an ''object self image'' .
According to Linda Nochlin,for instance,Hyphen, 1998-1999,derives from a snapshot of the artist and her sister -What I vaguely expected,when I went to meet the artist for the first time at her London gallery,Gagosian, was encountered someone who looked pretty much like the women I'd seen in the paintings:massive,a figure on a gargantuan scale.Instead.I found myself talking to a woman who can be well described as petite-.
If Savile's paintings are autobiographical in nature,it's certainly not in any directly documentary way.
Linda goes on describing her comportment and speech as a calm articulated person.
The composition structure is arranged in overlapping with a perspective almost scrunched up and crumpled on a surface that appears to flatten very image.Almost like a television screen or pressed down under a window.
The use of color,in its vitreous transparency,helps bestow upon the figures a mixture of tragic elegance and crude expressiveness.Acid greens,sanguine reds,and sharp.biting blue envelop the figure.
Savile embraces heaviness on many levels.The paintings for which she is best know are materially heavy-thik with paint and of impresive dimensions,and then the women she depicts in them are ones we perceive as heavy.Reviewers have spoken of ''repulsion'' ,''brutalized femininity'' and an ''object self image'' .
According to Linda Nochlin,for instance,Hyphen, 1998-1999,derives from a snapshot of the artist and her sister -What I vaguely expected,when I went to meet the artist for the first time at her London gallery,Gagosian, was encountered someone who looked pretty much like the women I'd seen in the paintings:massive,a figure on a gargantuan scale.Instead.I found myself talking to a woman who can be well described as petite-.
If Savile's paintings are autobiographical in nature,it's certainly not in any directly documentary way.
Linda goes on describing her comportment and speech as a calm articulated person.
Saville claims -''I've always been drawn to exhibiting in New York'',''New York represents the last great moment in painting for me-De Kooning,Pollock,Twombly,Jons and so on.There seems to be a greater receptivity to painting as a medium in New York.A robustness and physically in painting as a legitimate language of our time.Unapologetic. I wanted to see how may paintings stood in that area-to test them out.I don't know if you're interested in soccer,but it's like playing for Real Madrid
Saville identity is one of a painter not just an artist who happens to paint.
Like Lucia Freud the belief that the very act of painting is a potential embarrassment-something that can only be justified by association with more up to date practices was shared by Saville too.She has been struggling off since her student days at Glasgow School of Art and I must admit that I find myself in this position too as a student at graphic design were you are free to use all the art's beaches from media,film,music and so on, there could not be such a thing as a painting as a solution for my first assignment but something more technological.Of course I could sketch as much as I wanted for the website or the sketchbook but a painting could be only used as a toot not as a result.
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