In the latest series of paintings made by the artist, Amy Sillman, sex, and the feelings or thoughts towards that subject are associated with the actual aspects within the paintings. Considering Amy Sillman works with a manner where she attempts showing every decision visible to spectators, the spectators will give attention to each aspect of the painting, every decision made by Amy Sillman, all under the topic of sex. There is a lot of thoughts, different thoughts, on sex. While that is true, Sillman places her own ideas of sex into her paintings, and since the pictures are so thick with different factors/ aspects, the spectator has a lot to look at. The spectator can interact with each aspect, and can place their own opinions on what the artist could possibly be trying to display. “A Bird in the Hand,” is one of the latest works created by Amy Sillman with oil. It shows a spinach-colored hand reaching across a lavender field holding a little bird. First, the lavender sticks out in terms of color. From the bottom left, is stretches towards the top right, but only reaching half way to be cut off by the stated hand. The hand is a spinach color, and seeing how it overly-stretches out across the right to the top left, it would stick out in terms of shape. This overly sized arm stretches from its original location of being on the right, and connects to a gray-blue form. This resembles a body, a human body. The only unusual factors on this human body, is its connection to the green arm, and the color of the form. First, the color of the human is blue, but as the spectator strafes his sight to the left, to the front of the human body, the color becomes shadier on the figure. The color in front of the human body is dark gray, and from the dark gray, the arm protrudes. The arm, coming from the shady area of the human, also seems to be coming from the crotch of the human form. The crotch, being shady and dark, is where the arm sticks out, resembling a penis. Not only is a penis usually covered up with clothing, it is an anatomical piece of a males body that is a controversial, important part of life as we know it. Also seeing how it is such a spinach-green, it would stick out as significant in this picture. Aside, but correlated with the arm is the Lavender field. It stretches out towards the top right, eventually being overlapped by the green arm. Then, after continuing past the spinach-green arm, the lavender field turns green, just like the arm, as though the green, like a virus or poison, contaminated the field. The most important piece in this picture, or so it seems, are the birds at the top of the picture. Every bird in this picture is moving to the top left, as if in flight, though a few of them are different in color. The birds seem to be black initially, but when the spinach green arm, which has its fingers and grip on one of the birds, seems to change the captured bird’s color to the same color of the arm. Not only did the spinach arm change the lavender field to green, but also the bird to green. Then, near the body of the tall human is a bird so close to the human form that it seems to have been “contaminated” as well. Everything that passed by the male body has turned green, the birds, and the environment. It is believed from spectators, that the picture shows how much of an impact a male’s penis has on sentient beings, the environment, and the world itself in so many different ways the artist conveys on the picture. These sexual pictures then continue throughout Amy Sillman’s works; pictures of jumbled, naked bodies, and the faces of confused and satisfied humans. In one, untitled, work of art, an arrangement of shapes and colors give so many possible opinions a spectator may have on what the artist may be trying to say with her artwork. Even though at a first glance, a spectator may have a guess to what is going on in the picture, to continue observing the artwork, would confuse the spectator due to the multitude of factors. In the untitled picture, there is what looks like a bed with a yellow mattress, and has a small end table attached. Then upon this bed, is a jumble of black and white shapes that have a small significance to human appendages. These shapes, jumbled upon a bed, are immediately related to sex in the spectators mind, considering the image of appendages, naked, on a bed, but there seems to be a females body inside of the jumbled of shapes, overlapped but still visible. This is easy to tell due to the breasts drawn in the picture, and the shape of the body extending from the thoracic area of the body. On the left of this picture, is a clean, easy-to-see maroon colored girl with long hair. This girl is looking at the scene on the right of the picture, and looks confused. One eyebrow is making the shape of an arch, the international facial expression of “something fishy is going on, but I don’t quite get it.” Justifying her confusion, aside from the jumble of appendages, is how the appendages, and the bed, are right side up. The bed’s base is on the right side of the picture, and moves to the left while being right side up. The girl, standing correctly, looking upon the appendages confused, resembles not only the confusion a spectator may have from trying to understand the appendages, or the entire picture as a whole, but also the confusion a spectator may have on the subject of sex itself. The girl in the photo, obviously confused by some of the natures of sex, may bring out the possibility of the spectator having the same feelings towards sex, confusion, since the spectator can relate with the girl due to their similarity. Considering sex, being so important in the world, is so controversial, confusion due to the many factors of it is understandable, and all of these factors are placed inside of Amy Sillman’s picture by the abundance of colors, and shapes used in such abstract ways.
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