HOME | DD

Description

I’d looked through my recent pieces and found the vast majority had been mostly face work or abstract. When I notice one of these trends I try to understand what’s going on with me, and how I can best learn and grow from these situations. As a result I found some full body reference to study to practice some of those non face elements that are important to communicate the humanity of a subject.
I took reference of Rowena ( www.deviantart.com/adorkastock… ) from Adorkastock ( www.deviantart.com/adorkastock ) to try and learn about these aspects that I had been neglecting in my studies. This brought me to explore why it may be that I’m so much more practiced with faces than I am with bodies. I look at faces a disproportionate amount of the time, especially when contrasting with other artists who have visions which cover a more balanced array of figure and world.
Musing on why faces disproportionately show up in my awareness and in my work I delved into some introspection. Since I have audio processing challenges, I have additional incentives to collect information that may help me understand what someone is saying, this often leads to really focusing on their face trying to use an inversion of the mcgurk effect to try and figure out more likely strings of information based on additional mouth and facial cues. A lot of my hyper fixation with faces seems to originate with a desire to understand.

Despite being in multiple communities that absolutely revere mermaids, I’ve previously found myself unable to align with the aesthetic, often feeling alienated by not understanding why this format was so prominent in communities I participate in. Collecting data around freedom of motion in the water, femme empowerment, and early imprinting through media like Disney, I can logically grasp why it means a lot to so many now.

This is a window into an interesting phenomena of skill acquisition, what types of feedback loops lead to painting in the first place, then to overspecializing in faces? How do our cyclic acts of focus change both ourselves, and what we contribute to the world? Is it worth intentionally shifting our focus to influence what we share with the world? How does additional research on counterintuitive things change what we appreciate and create?
--Isicera

Description

I’d looked through my recent pieces and found the vast majority had been mostly face work or abstract. When I notice one of these trends I try to understand what’s going on with me, and how I can best learn and grow from these situations. As a result I found some full body reference to study to practice some of those non face elements that are important to communicate the humanity of a subject.
I took reference of Rowena ( www.deviantart.com/adorkastock… ) from Adorkastock ( www.deviantart.com/adorkastock ) to try and learn about these aspects that I had been neglecting in my studies. This brought me to explore why it may be that I’m so much more practiced with faces than I am with bodies. I look at faces a disproportionate amount of the time, especially when contrasting with other artists who have visions which cover a more balanced array of figure and world.
Musing on why faces disproportionately show up in my awareness and in my work I delved into some introspection. Since I have audio processing challenges, I have additional incentives to collect information that may help me understand what someone is saying, this often leads to really focusing on their face trying to use an inversion of the mcgurk effect to try and figure out more likely strings of information based on additional mouth and facial cues. A lot of my hyper fixation with faces seems to originate with a desire to understand.

Despite being in multiple communities that absolutely revere mermaids, I’ve previously found myself unable to align with the aesthetic, often feeling alienated by not understanding why this format was so prominent in communities I participate in. Collecting data around freedom of motion in the water, femme empowerment, and early imprinting through media like Disney, I can logically grasp why it means a lot to so many now.

This is a window into an interesting phenomena of skill acquisition, what types of feedback loops lead to painting in the first place, then to overspecializing in faces? How do our cyclic acts of focus change both ourselves, and what we contribute to the world? Is it worth intentionally shifting our focus to influence what we share with the world? How does additional research on counterintuitive things change what we appreciate and create?
--Isicera