Identity
Artist Gallery
Analysis
Jeremy Olson was born in 1976 in Ojai, California and completed a BFA (Bachelor of Fine Arts) from the University of Arizona in 2000 followed by an MFA (Master of Fine arts) from NYU Steinhardt in 2009. Olson is multi-dimensional artist who lives and works in Brooklyn, New York, working in painting, video, sculpture and photography. His references range from the commercial still-life to science fiction; and his practice began with work exploring both geometric structure and fragmentation within portraiture. He has since created an ultra-contemporary exploration of the grotesque, although still retaining his interest in geometric structures through the presence of fictive architectural features. His work has been exhibited across the world I places such as New York, Antwerp, Berlin, Connecticut, Melbourne, Omaha, and Seoul.
In pictures such as this you can clearly see the heavy influence cubism (an early 20th-century art style and movement in which perspective with a single viewpoint was abandoned and use was made of simple geometric shapes, interlocking planes, and, later, collage) has had on Olson’s work. In many of his paintings like this one he deconstructs his portraits into fragmentary parts before layering them back over the face of his subject in kaleidoscopic patterns. In this way Olson relates to my previous artists Soltau and Robertson who also utilize layering and breaking apart images in order to create more interesting and meaningful pieces of work. Olson however does so through a different medium (painting) whereas Soltau and Robertson both print and sew onto their photos. This photo clearly demonstrates Olson’s interest in geometry and simultaneous perspectives with its use of geometric shapes and a distorted section in which parts of the face are altered and rotated. This image displays how certain features are more overpowering than others; for instance, the eyes which are both the boldest and most vibrant colour as well as having been repeated several times in the image representing how they are the strongest feature. Furthermore, I think that Olson is using this image to try to change the way that people think by creating it in such a way (through the warping of perspective and use of intriguing geometric shapes) that allows people to focus on different aspects
of the portrait and explore its depth. This image will influence the development of my own work as from analysing it I have learnt that it is important to utilize perspective and structure within an to create a more advanced and interesting photo. This image also relates to my theme of hidden identity as, like the work of my previous artist Annegret Soltau, it obscures the face and thus the identity of the model depicted.
Although his images are paintings, they are likely of pictures and regardless still depict key technical features of photography that I will aim to replicate in my photos. This image depicts the use of artificial lighting directed from the right side (possibly from studio lights) as the left side appears to be darker with more shadows present. The subject of the image is in focus however the dark background appears to be somewhat blurred suggesting the use of a lower aperture. Furthermore, the image is neither noisy nor granny however is quite dark suggesting the use of a lower ISO. This image uses both warmer tones (for example the face and lips) and colder tones (for example the eyes and darker shadows).
The focus of the images is the model meaning that the face of the subject is the clearest and sharpest area of the image. The face also depicts highlights, specifically on the right side of the image as this is where the light source (some form of artificial lighting) is, however it also depicts some shadows, specifically on the left side. The dominant lines in the image are straight outlining a multitude of directions due to the geometric pattern depicted in the centre of the image. Within the geometric shape specifically and the image as a whole there are many examples of repetition, for example the eye which can be seen in 6 different places in the image. In this image and many others by Olson there are multiple 2D geometric shapes, in this case depicting different aspects of the model’s face, and the model himself is of course 3 dimensional. The depth of the image is quite shallow and there is little negative space due to how close up to the model’s face the image has been taken. The darkest tones in the image can be seen in both the background and the left side of the image where the most shadow can be seen, whereas the lighter tones can be seen on the right side of the face where the subject is closest to the light source. The image depicts relatively dull tones which helps to emphasize the brighter blue colour of the model’s eyes. The image does not display the rule of thirds and has been taken a close-up camera angle meaning the image is largely of the subject and shows very little background.
Olson’s images evoke feelings of intrigue in the viewer as to what his subjects actually look like beneath the geometric masks placed above their faces. This aspect of his work links to my topic of hidden identity as the face being obscured conceals a key aspect of the subject’s identity, their appearance. His images remind me of those of Kensuke Koike as they both use geometric shapes to distort the appearance of their subject’s face, Koike doing so by taking and cutting up actual photos and Olson doing so by painting his subjects to look that way. If I could interview Olson, I would ask him what interested him so much about using geometric patterns and why he began painting more grotesque images later on in his career. I am going to use my knowledge of Olson in my work by trying to create interesting geometric shapes when concealing my subjects identity, but also by using repetition in my work to make it more interesting.
Photoshoot plan
I created this plan is for my Jeremy Olson photoshoot so that I have a clear reference point to return to when taking my photos so that I know what I must do and what my initial ideas were. For my photoshoot I intend to take photos of people from the shoulders up facing in different directions. I am going to create this photoshoot at home, aided by this photoshoot plan as it tells me what settings to have on my camera and what I need to take my photos of. My photoshoot will relate to the artist as I will take photos of people in order to cut them up and create physical versions of Olson’s paintings.
Contact Sheets
My photoshoot turned out successful, partially due to the aid of my plan which directed me as to what photos I wanted to take and how to take them. When taking my photos, I changed the location as it was not bright enough; this allowed my photos to be more clear and in focus. I have created 64 pictures of my subject looking in different directions as that is what the models in Robertson's photos are doing. This will allow me to layer the photos above one another to create final images similar to those of my artist. The red circles on my contact sheets signify images that are successful (due to being in focus and having good composition) therefore may be used to create my edits. The red crosses on the images signify images that are unsuccessful (due to being blurry and too dark) therefore will not be used to make my edits. From taking these photos I have learnt that setting is important as it greatly affects the quality of your images. To improve my photoshoot, I could take photos of my model making more expressive faces. To create my edits, I will print out the images I have taken, having made some of them black and white, and sew them together (having cut parts of some of them out). These photos relate to the artist as they depict what my artist's models have done as a basis for the sewing I will later do on top of these images.
Initial edits
I have created 6 initial developments for Jeremy Olson. To create each edit, I printed out multiple copies of the image and drew the shape I wanted to cut out onto it before using a box cutter to cut it out. Once cut out I traced the shape onto a white piece of paper and drew triangles and other shapes onto the shape before cutting out each piece. Once the pieces where cut out I glued them onto aspects of the face on my other copies and cut out those pieces. I then glued the original images onto a white piece of paper and glued the cut out pieces into the gap where I cut out the shape. In doing this I created an image similar to that of Olson as his work depicts aspects of his models’ faces rearranged within a shape which I have created physically with my images. I think the artist’s photos are more successful than my edits as the parts of the face selected for the cut-out aspect of the photo work better together, for example the placing of the model’s eye in the centre and nowhere else. To improve these edits, I could be more careful when cutting out sections for the shape area of the image so that the pieces fit together better. From creating these images, I learnt that it is better to use some sort of board when cutting paper. For my second developments I will incorporate black and white photos into the cut-out section of my photos as well as heightening some pieces.
Highlighting success
I believe these are the most successful of my initial developments as they are most similar to the artist’s work. In these edits I have replicated the cut out shapes used by Olson in his paintings. Furthermore, I have also used the artist’s technique of repeating facial features in the cut out section, for example my model’s eye which is repeated multiple times in both images. The use of repetition in this way makes these images my most successful and interesting as it draws the viewer straight into the images and keep them engaged with what the images depict.
Second developments
I have created 4 second developments for Jeremy Olson. To create each edit, I printed out multiple copies of the image (some in black and white) and drew the shape I wanted to cut out onto it before using a box cutter to cut it out. Once cut out I traced the shape onto a white piece of paper and drew triangles and other shapes onto the shape before cutting out each piece. Once the pieces where cut out I glued them onto aspects of the face on my other copies and cut out those pieces. I then glued the original images onto a white piece of paper and glued the cut out pieces into the gap where I cut out the shape, some of which I first glued onto multiple pieces of cardboard. In doing this I furthered the developments I have done so far as I incorporated black and white pictures as well as lifting some of the pieces with cardboard. This makes my edits more interesting as it expands on the work I did for initial by creating more detailed and exciting images. These images link to the artist as his work depicts aspects of his models’ faces rearranged within a shape which I have created physically with my images, however with black and white images and heightened pieces. I think the artist’s photos are more successful than my edits as they are vibrant and depict colour interestingly. To improve these edits, I could use more cardboard and heighten some of the pieces more. From creating these edits I learnt that it is important to experiment with different materials. Next, I will create physical paper sculptures that come out of the cut out area of the model’s face.
Highlighting success
I believe these are the most successful of my second developments as they have the best composition. The way in which the pieces in the second image all meet in the centre make it appear like a broken mirror or piece of glass. This is furthered by the use of cardboard to heighten certain pieces as this makes the section of the image appear more broken. Furthermore, the use of repetition in the first image (of the model’s eye) creates a more interesting and engaging image, drawing in the viewer and strengthening the overall image.
Third Developments
I have created 4 third development edits in order to further my understanding of the artist's work. To create these images I used left over paper from my previous edits (which were cut randomly when making previous edits) and stuck them together, often placing together pieces of the same image. These are different from my initial edits as instead of segmenting a small portion of the image I created a similar effect with the entire image. These images still link to the artist as they deconstruct the initial image however present it differently. To improve these edits I could try and link up the images in the same way that I have, however, using different pictures rather than two of the same image. Although I like the contrast between the black and white and in colour images presented in these edits, I do not believe they are as successful as my previous edits as they do not as closely link to the artist, nor are they as complicated and interesting to look at.
Highlighting Sucess
I believe these are the most successful of my third developments as they look the most interesting. These two images best depict contrast between the black and white and in colour images as, in the first one, the pieces stuck on top of each other are from the same photo, therefore,
AO4
I have created an image similar to my initial edits, however I placed cardboard beneath two of the fragments and sewed the edges of those pieces onto the piece of paper. This makes it look as if the fragments are floating and links the work to both Olsen and his use of cubism and deconstruction, as well as my first artist Annegret Soltau and her use of sewing in her work to create more interesting and creepy images. To improve my AO4 edits, I could create multiple other images with sewn aspects, however, experimenting with different angles at which the fragments could be placed, and possibly using more than 2 fragments.