Migrants crisis and ship sinking.

Migrants crisis and ship sinking.

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 elaborated in such a way as 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.

Preparatory photomontage (create through the composition of 10 different press images) with reference to "Le radeau de la Méduse", Théodore Géricault.

Preparatory photomontage (create through the composition of 10 different press images) with reference to "Le radeau de la Méduse", Théodore Géricault.

Final photomontage and final painting.

Final photomontage and final 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 observer.No image or shape is discernible from a short distance but as you move away the subject slowly appears, and certain details can be made out.

 
 
Detail of The Raft and full size painting.

Detail of The Raft and full size painting.

Kurdish greetings

This painting has been created through a preparatory photomontage of at least 10 different chronicle images of the Kurdish woman soldiers. The composition aims to evoke The Visitation by Jacopo Pontormo (1828) which illustrates the intimate embrace between Maria and Saint Elisabeth (1828 ca.). 

Kurdish greeting painting on canvas.jpg

Detail and full painting. Kurdish greetings, 160x200 cm. The Visitation, Jacopo Pontormo, 156x202 cm, 1528 ca.

The Entombment of a Syrian - Projects

The next painting is based on the ongoing events in Syria and inspired by The Entombment of Christ, Caravaggio, 1603–1604.

The entombment of a Syrian
 
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