The Raft. Subject and foundation process

An interest in social issues, such as migration, human rights, workers' conditions, and conflicts, has become the matrix for this series of paintings.

The aesthetic research is based on the selection of news images published by magazines and online sources, which are explored in order to evoke an aesthetic connection with classic painting in terms of composition, subject and narrative power.

The Raft is based on the ongoing migrant/shipwreck crisis, and is reminiscent of the painting titled “Le Radeau de la Méduse” (1818-19) by Theodore Géricault.

The preparatory image is the result of a meticulous photo-montage consisting of numerous reportage images, and aims to evoke the narrative power of the historical/classical painting.

Technique

After evaluating the most appropriate technique for communicating these subjects today, I opted for a painting style which reflects the typical halftone process used in newspaper printing. I wanted the painting to appear objective, and this technique, which could be defined as "scientific," is capable of achieving this result.

Despite this, the canvas is painted point-by-point, in a single colour: ultramarine blue. Its dimensions (2.80 x 2 m) require time, space, and observation on the part of the spectator. No image or shape is discernible from a short distance but as we move away the subject slowly appears, and certain details can be made out.