My initial project plan is to further my portrayal of the victims of the S-21 prison. The outcome may depict only victims of this genocide, but through research, may also evolve to cover victims from other similar atrocities.
My focal point thus far has been painting photographs of the victims of the S-21 prison. In my previous tutorial I had been advised to further explore the link between the photographs, and the subjects. In review of my own work I highlighted the fact that whilst the victims have passed on, the photographs continue to exist and grow old. This is an aspect I would like to explore further. The photographs appeared to almost be rotting. They were old, green, and sepia tinged with bubbles from too much exposure. To mimic this quality, I used a combination of inks and oils heavily diluted in turpentine. I also used washing up liquid to create bubbles in the paint. It is the ability to edit and doctor the images through paint and multi media that encourages me to question my role in this project. Am I creating art as a statement of protest, propaganda or as documentation?
In my self-review I mentioned the recognisable human qualities tinged with something more unnatural in my figurative work. In the case of the Cambodian paintings this could be derived from painting from old photographs or from the fact that the subjects are deceased. This is an avenue I will continue to examine as I believe it creates a disturbing quality to my work that I find favourable considering the subject matter.
In the contextual aspect of my research I have been viewing several artists. Congolese Artist Steve Bandoma uses inks, water colours, acrylics and paper based montage to create fluid chaotic paintings to depict view of post colonist Africa. His paintings have a similar fluidity and texture to my own work. Korean Artist Kwang Ho Shin is another artist that I have been drawing a great deal of inspiration from, especially his wide ranging experimentation and similar style of abstract-figurative paintings.