CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
ABERRATIONS
An abstract submitted in partial satisfaction of the
requirements for the degree of Master of Arts in
Art
by
JoAnn Case
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June, 1977
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The Abstract of JoAnn Case is approved:
Date'
Date
Bruc_e Everett, Cornmi ttee Chairman
Date·
California State University, Northridge
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ABSTRACT
ABERRATIONS
by
JoAnn Case
Master of Arts in Art
I am a traditionalist - one who maintains that the
representational object, the recognizable subject matter,
is still a valid and important part of painting.
Color,
line, shape,· and spatial considerations iri painting have
no meaning for me if disconnected fram an image.
I need
this quality of form to attain the element of content.
Within my makeup as a person and as an artist, there is a
certain
deman~
for concrete relationships, perfection,
infallibility, and honesty.
I strive to maintain these
ideals in everyday life as well as in my painting.
In
the light of these ideals, I have chosen to express myself
through a "photorealist" approach to painting.
This
particular approach or.style demands th,e total control of
1
2
the artist's visual perceptive.faculties and a precise
technical knowledge of the media in which he is working.
I regard the ph_otograph as a useful tool that can
control temporal and environmental changes, so that I may
study the intricate and subtle tonal relationships which
occur within the subjects of my paintipgs.
These
relationships in fact become the subject matter of my
paintings.
The photograph also enables me to see details
that in casual observation might never be noticed.
I
consider its use comparable to the use of a still-life
model under controlled studio conditions.
This approach
implies a sterile, detached, and·purely unemotional
relationship to the act of creation and a totally
unemotional end product; this is a fallacy.
myself
~n
I consider
interpreter of reality and interpretation
implies subjective selection which operates on both a
conscious and an unconscious level.
The technical
consid~rations
in.my work are extremely
important to the execution of ·a successful piece.
The
canvas must be prepared very carefully so that the pigment
will flow smoothly and evenly on the surface.
I use a
method of gessoing and careful sanding to achieve the
right amount of tooth on the canvas.
I have found that
oil paint is the most versatile media with which to work.
Paints are mixed with linseed oil in order to attain a
cream-like consistancy.
Most of my brushes are very fine
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soft sable.
freehand.
The initial sketching is usually done
Occasionally, if the subject matter is
extremely complicated, or I feel the need of total
accuracy, I will use an opaque projector {fig. 1).
Due
to the complex nature of the "photorealist" technique
and the size of the canvas, each painting will take from
six to eight weeks to complete.
The earliest painting "Fire Engine" (fig. 2) is the
most straightforward in its execution.
It is almost a
pure study of surface, light and shadow; and an initial
experiment in the technical problems of handling the
materials.
Each successive painting shows an increased
intimacy with the subject matter and the media.
Objectivity becomes less important and subjective
influences begin to emerge.
"Coudan" (fig. J) for
example, exhibits a mysterious and dream-like quality.
The scene seems to be realistic, but at the same time it
evokes a feeling of fantasy, which is partially achieved
by the use of two separate photographs as models.
Also,
the feeling of fantasy is incr.eased by the surreal
treatment of the environment in which the automobile
exists.
In "Towers'' (fig.
4) there is a feeling of
adoration, as the structures suggest an iconographic
quality.
·This
f~eling
exists because of the placement of
the towers on the canvas and the exaggerated perspective
as the towers move up toward the top of the picture plane.
4
In these various respects I feel that each painting
is
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some way a deviation from the usual or ordinary.
The paintings are "aberrations" - and here the term is
hopefully understood as a positive element - the necessary
quality arrived at through the subjective treatment of an
objective entity.
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LIST OF FIGURES
PAGE
1
Chry.sl.e.r . .................... ~ ............ · 7
2
Fire Engine . ............................... 9
Coudan ..••
.. .................. .......... 11
Towers .••.
•
• • •
•
•
• • • •
•
• •
• • •
• •
a •
•
•
•
•
0
•
·• •
13
...... 15
5
Lo.c omotive • ..... -............... .
6.
Vault ..........................
7.·
The Egg .•.•............................. 19
Jensen.
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17
............................. 21
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Fig. 2
Fire Engine
9
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10
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Fig. .3
Coudan
11
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12
Fig. 4
Towers
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14
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Fig. 5
Locomotive
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16
Fig. 6
Vault
18
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Fig. 7
The Egg
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20
Fig. 8
Jensen
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Fig. 1
Chrysler