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Behind The Looking Glass Painting

Velta Emilija Platupe

Latvia

Painting, Watercolor on Paper

Size: 44.5 W x 27.6 H x 0 D in

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About The Artwork

The art of portrait is a symbiosis between the artist and the model. Skill is important on artist's side, and so is patience and trust of a model. In the times of countless selfies we all know our best angles and representative smiles, but the collaboration of artists and models has a different value, it shows every vulnerability of a person. The sitting person is not allowed to move and talk very much, so the person is forced to think. In the process of sitting, various expressions and feelings cross the face of a model. The artist is often privileged to see the hidden personality traits of the model: the cynics become romantic, the stoic become gentle, the happy become melancholic. Then comes the moment of truth when the model gets to see the result of meditative patience and artistic efforts. This is my daughter Francesca, making faces at the mirror and the view of my studio table and window. Sketches are made in watercolor and pastel techniques, in in 1 – 3 sittings, each sitting can last 10 – 60 minutes, depending on model's mood and state of health. Later I recreate these sketches in more elaborate, monumental watercolors. I have chosen to adapt child's personalities as angels walking on the earth. As atavistic as a notion of angel may seem in the modern world, I and my models are living in the year of war, our bordering country is an unprecedented war aggressor. Since there is enough suffering on the planet, we are allowed to conceive the idea of irrational, divine, otherworldly appeasement. It is painted on 300 g/m² Arches watercolor paper and not framed.

Details & Dimensions

Painting:Watercolor on Paper

Original:One-of-a-kind Artwork

Size:44.5 W x 27.6 H x 0 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

My love for printed words is so strong that I make paintings and sculptures from orphaned books. I add different sorts of paper, textile fiber and found objects and treat this mixture as if it was a marble mine. I regard all human-made commodities as the raw material of the 21st century, they add opulence, playfulness and weirdness to my objects. My sculptures are hybrids - installations, huge marionettes and idol figures. I overcome gravity using a technique from marionette theater. Sculptures float in air and strings make them alive. I paint because I'm volatile. I catch all my demons and fears with a brush, so they are not threatening anymore. I'm hesitant, that's why I paint portraits in real time. Models don't have to speak. Sometimes I lay paintings in a horizontal plane, like huge rolls of parchment. The public can touch it, walk and crawl on it, contemplating the importance of daily grounding. I'm a mystic. I borrow deities and create semisacred, eerie spaces where sculptures, paintings, words and animation merge in a numinous, baroque amalgam. I love the tactile. My objects are sensuous to touch. I love word constellations, so there are collections of short stories to accompany the visual work. In a courageous mood, I transform stories into puppet performances and collaborate with theaters and musicians.

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