Henri Matisse The Cut-Outs — Transformations Gallery

Matisse - The Circus, 1947

Matisse – The Circus, 1947

Matisse — Jazz

It is easy to be inspired by Matisse. Seeing Henri Matisse the Cut-Outs exhibit at MOMA, the exuberance of color, the freedom of forms — you want to be able to paint like that. The later rooms with the wall-sized works, and especially the photographs of how his studio was so full of this art as he created it — you want to live in rooms like that. I walked out of the exhibit wanting to play with color, to hold it in my hand and create pure forms with it as he did. Even if you don’t like Matisse, you have to be inspired by the absolute passion he had for creating art, so undeniable that it that led him to invent a new way to make art when he could no longer paint. MatisseCat_6g-fhd4--040727_agostinoartsChapter 10 of my book is titled “Matisse’s Cat”, in reference to the inspiration I draw from these struggles of great artists to find a way to satisfy that passion, and Matisse particularly because he spoke of the struggle, and left us evidence of his explorations and battles with line and form and color. I was writing about my own struggles to develop new cat face designs, particularly one based on a statue at the Bronx Zoo of a puma coming down a cliff, and in this iteration I had simplified the puma shape so much that it reminded me of a Matisse cut-out, and that encouraged me to loosen my hold on the realistic image and pursue it’s essence instead. This is the encouragement I take from Matisse: aim for the essential.

Matisse — Blue Dancer

We paint faces mostly with pure color. You might do blending in the sponge work, but then the imagery on top is usually solid colors with minimal shading — so the Cut-Outs relate directly. In adapting the Cut-Out figures to a face you have the additional playfulness of trying to fit his forms to the shapes of the face, which becomes an exercise in the fundamental skill of placing a flat image over the curves of the face. And I do mean “exercise” — I learn more about painting faces when I try to imitate the Cut-Outs.

Matisse - The Rumanian Blouse 1940

The Rumanian Blouse 1940

Matisse_RoumanianBlouse_artface_140920_agostinoartsMatisse’s painted portraits also adapt well, as he worked often with flat areas of pure color and precise linework. Strong colors and clean linework make for effective faces.

 

 

Face Gallery (Body Paintings below) ——————————————

at FABAIC 2011

at FABAIC 2011

Matisse-Icarus 2011

Matisse-Icarus 2011

Matisse-Icarus 2011

Matisse-Icarus 2011

Matisse Remix 2008

Matisse Remix 2008

Portrait of the Artist's Wife, 1912

Portrait of the Artist’s Wife, 1912

Red Fish 1911

Red Fish 1911

Matisse Remix 2008

Matisse Remix 2008

Matisse Remix 2008

Matisse Remix 2008

Matisse Inspired bodypainting by Raphealle Fieldhouse

Matisse Inspired bodypainting by Raphealle Fieldhouse

Ruby – beautiful video by Emma Allen

An animated self-portrait exploring the idea of rebirth and illustrating the transfer of energy from one incarnation to another. I painted this stop frame animation on myself over 5 days, using some face paints, a mirror and a camera.

emmaallen.org
twitter.com/imakefings

Story & Performance – Emma Allen
Photography & Makeup – Emma Allen
Post Production – Alex Try, Phil Varnier
Sound – Alex Try

I have my first exhibition opening this week on 13th November at The Dalston Superstore. Please come, have a look and say hi.dalstonsuperstore.com/features/black-light/

 

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2012 Transformations — Face Painting Gallery

by Christopher Agostino

Faces, and a few bodypaintings, from 2012. Mostly by me and some by our company members.With the exception of the bodypainting models, all of these are photos of regular people painted at events around New York. The photos are arranged by name, rather than chronologically, so this year it starts with aliens and ends up with zebras and zombies. The names I give designs help me sort and find them, and also help me remember new ideas while I’m working. It’s very rare these days that I ask someone what they want to be before I paint them. Almost always I’m surprising them, which means I need to have lots of my own ideas ready, so I bring a list of names  as a reminder of design concepts. And it’s very helpful to have a name for what you’ve just turned somebody into, especially when you are being inventive. Part of the fun of surprising someone is talking to them about what they are becoming to build the anticipation, giving them the story.

2012_slideshowTitle

Click here for the slideshow:  2012 Transformations Video  music by Jeremy Agostino

The 2012 Transformations Gallery:

click on the photos to see the names of the images

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Face Painting Gallery — Yoga For Children Book – faces by Lorraine

FinalBook 1.6.13.indd

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See a video on the making of the book: Making the book: Yoga For Children

The Locust

The Locust

In June 2012, Lorraine participated in the making of a book, painting faces of students participated in the Yoga program at the Girls Preparatory Charter School of the Bronx. Her assignment included designing faces to match the various poses, including some unusual animal poses such as The Locust and The Firefly. The book takes a playful approach to Yoga for kids, so Lorraine followed suit with a whimsical design style.

Learn, Play, Practice: Yoga for Children

by Patricia Buraschi with Beth Maderal

in collaboration with Girls Preparatory Charter School of the Bronx and Om International Yoga Health Society founded by Smriti Chakravarti

Painted Faces by Lorraine Zeller-Agostino

Photography by Toto Cullen

 from the author:

The Turtle

The Turtle

LEARN, PLAY, PRACTICE: YOGA FOR CHILDREN is for children, parents, and teachers interested in exploring Yoga in a mindful manner.  This book, written in a playful way, introduces children to the postures, the breathing and the alignment of Yoga. Through the introduction of these concepts, children will become  aware of positive traits in their own personalities, will develop a sense of mindfulness to those around them, and will build an emotional foundation that allows them to manage challenge-filled events. LEARN, PLAY, PRACTICE: YOGA FOR CHILDREN encourages children, with guidance from a parent or teacher, to develop their own Yoga routine.  We hope this book inspires both the children and adults who use it to further explore and practice Yoga.  We know from our own study and practice of it that there are endless rewards awaiting those who commit to the journey.  Sales from this book support the Yoga program at Girls Preparatory Charter School of the Bronx in New York and Om International Yoga Health Society, Smriti Chackravarti’s Yoga center in Varanasi, India. Thank you. We are grateful for your support!

website:  www.LearnPlayPracticeYoga.com     USA E-store    Europe retail orders

To learn more about our programs and performances:  http://www.agostinoarts.com

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Transformations — About the Company

About the Company

— adapted from Transformations! The Story behind the Painted Faces by Christopher Agostino – revised 12/12/12

The first face I painted was in 1976, as a young actor asked to help turn hundreds of my fellow high school students into clowns for a bicentennial parade. By the next summer, the members of our theater troupe had opened a facepainting concession at Adventureland Amusement Park on Long Island, NY. I haven’t stopped painting faces since. (Why would I? It’s too much fun).

In the eighties I began to look at facepainting differently — as an art. The art of transformation. In 1983 I was in LA,  painting faces and bodies at Venice Beach. I joined with another performer and visual artist, Jennifer Green, to promote facepainting to museums and art shows as well as the usual gigs. Jenn’s approach to a face was very different from mine. On the same day that I painted a classic Chinese Opera design on her as a logo for our fledgeling company, she turned me into abstract art.

When I returned to New York, I got a gig painting faces in the window of Unique Clothing right on Broadway in Greenwich Village and worked there on and off through the mid- ‘80s. It was facepainting as public entertainment. As was the case at both the amusement park and Venice Beach, I was painting more adults and teens than kids. I worked on ways to blend my theatrical approach and the Chinese Opera imagery with the punk styles people were wearing on the streets.

The extensive event industry in New York let me move from street fairs, where people paid for each face, to being hired for private parties and corporate events. Sometimes I’d be able to bring along another artist who painted full faces, but most often there would be other freelance facepainters on these gigs with their own styles or just doing cheek art.

As the work became more steady and the events larger, I wanted to always work with a group of artists who approached this art like I did, to present facepainting as more than a cute diversion for little kids. That led in the ‘90s to the formation of the company, Transformations Facepainting, and that was when facepainting really became fun.

Finding a facepainting home like the Bronx Zoo has allowed us to develop and maintain a company of very experienced artists. The members of Transformations Facepainting, over the years, have included: Dennis Pettas, Roberta Halpern,  Jennifer Wade, Miguel Cossio, Laura Metzinger, Michele Carlo,  Angela Izrailova, Miko and Claudia Reese, Jin Young Park, Danny Gosnell, Naoko Oshima,  Margery Gosnell-Qua,  Maria Pirone, Sigfrido Aguilar, Janet Izzo, Denise Lord,  Nirupama Kumar, Christine Gregory, Zak Brown, Lizi Costache, Regina Russo, Phil Zirkuli, Britt Lower, Colleen Gallagher, Deborah Berkson, Abigail Weg. Our website and promotional materials are full of my snapshots of the faces that I paint — their work is vastly under-represented in proportion to their contribution to the success of our company.

The artists who find their way into our company tend to stay with us. It’s so much fun and we like each other.

Before I had an organized troupe, I had friends to paint with. I’d get canvas painters I knew, like Wanda Boudreaux, to try facepainting. Wanda’s from New Orleans, so we also got a chance to paint down there for Mardi Gras, and I have always felt that I learned as much from artists like Wanda as they learned from me. Some of the other artists I’ve painted with along the way include Kate Cain Madsen (who began like me back at Adventureland), Teddy Goldman, Anne Farmer, Diane Epstein, Suzanne Haring and her sisters, Jodi Levitan, Susan-Rachel Condon, Luanne Dietrich, Erica Borillo,  and Therese Schorn. Some of these artists were with me as I first began to discover what I wanted to do with a face.

A facepainter is an artist who entertains, and entertainers get into the most interesting places. One day we may be painting at a party in the inner recesses of the New York Stock Exchange and the next day we’re painting an endless line of kids in the Bronx for the NYC Parks Department. One summer, Transformations was hired by the Nature Conservancy for the Long Island Beach Festival. It was a wonderful event, right on the beach at Smiths Point Park. I got to tell stories and talk about nature and facepainting to the crowd strolling through the tent, and we got a chance to dip our toes in the ocean afterwards. This is a wonderful business.

Usually for such events I’ll give the artists a theme and maybe some source images like masks or sea life photos and they will invent their own faces. This time I tried something different. I gave to the three artists working with me (Naoko, Marge and Miguel), a set of 70 sea life faces I had sketched out for an earlier project at the New York Aquarium and asked them for that day to use my designs rather than their own. We told the crowd we were painting not to worry about what they wanted to be, that everyone would be surprised with a different sea life face.

As these three accomplished artists, who I have worked beside for years, began painting my face designs each took their own approach, brought their own style and vision, and none of the faces looked like I’d painted them. What a pleasure it was to work beside them.

For such artists to believe me when I tell them what I think is possible in this unconventional medium; for them to let me give them certain rules for painting on certain days; for colleagues to let me set a course for their creativity — this is all a very unexpected consequence of my decision to be a facepainter. To have a company of artists who want to do what I do amazes me.

to learn about all our programs: agostinoarts.com
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