Evolution
In this creative project, I explored the disfigurement of the human form through environmental alterations. My original ideas for these works were based on harmful environmental factors and the capacity for them to drive beings to evolve or become extinct, leaning more towards the idea of mutated, maladapted figures, which quickly evolved into futuristic, hyper-evolved and super-human looking beings.
Inspiration for these works were sparked from a previous project, in which one area of focus involved disfiguring the human form by subdividing the 3D structure of the body and diminishing individuals into simple shapes as a result of neuro-degeneration. These mutated figures adopted progressively abstract and futuristic styles, involving obscure choices in colour and geometry to build the overall compositions.
The initial technique used for these facial distortions was blind and continuous line drawings. After a lengthy development in this style of portraiture, further layering and colour was applied in the development process.
During 2021, I painted canvases using only greyscale. This reduction of colour forced me to think in so much more detail about the overall composition of each piece. The pieces definitely developed significantly with regards to their overall structure, with an almost mathematically calculated element to it. I attempted to balance out and disperse the various shades of grey throughout the space of the canvas, bringing less chaos to the arrangement and more of a harmonious appeal throughout. The usage of greyscale for a sustained period of time has allowed me to become more mindful of colour schemes for each of the more recent paintings created during 2022, as I slowly begin to reintroduce colour into the works.
The initial drawings delve deeply into the observation of anatomical structures, particularly in the head, upper extremity and torso regions. Portraits started off more complex, however, I began to deconstruct and simplify these anatomical features with time, breaking them down into simple, satisfying shapes.
Recently, the frequently used sequence of shapes that have emerged from this style of drawing have been combined with outlines of natural structures, in particular, plants that I surround myself by in London/Northumberland, and the shapes created by the dynamic movement of water. From a Neuroaesthetics perspective, I try to consider elements such as symmetry, narrow colour schemes, and ambiguity as key factors in these paintings, as these objective artistic components tend to lead to preference across a greater number of individuals.
These designs have reached a point where the shapes and structure come instinctively as a result of extensive practice and repetition in this specific style of drawing. The ‘abstract face’ designs have gone far beyond the canvas, and have found their way into a lot of the customised clothing pieces, making this unique style of drawing AMCA.STUDIO’s signature design, frequently found on trousers, jackets, and even shoes.
