Often, viewing a work of art up close and from a distance is like seeing two completely different works. Canadian artist Michael Goodson explores this effect in his series of intricate, large-scale portraits. While these masterpieces all look incredibly lifelike from a distance, the tactile details of the faces in layers of acrylic paint and silicone can still be seen up close.
“My goal in painting these works is to achieve a perfect tension between human presence and absence,” Goodson said. “These paintings need to be both geographical and perceptual. If one happens to Located in front of the work, then it is ageography - a collection of mountains and rivers. However, if the viewer sees an image of an entire room, then it is aportrait< of a person. /strong>."
To achieve the mesmerizing tactile effect on canvas, Goodson had to layer his paintings. First, he made a pencil sketch on a 6-by-4-foot slate. Once complete, seal the pencil sketch with a layer of "Raw Brown" acrylic paint to ensure it is not affected during the painting process. Once this layer is dry,Begin using a mixture of silicone and acrylic paint to build the geographical features of the face. To do this, he uses a caulking gun, a brush. The goal of this stage is to "describe the geography of the face and create the flow and directionality of each part." With the texture in place, acrylic paint can be applied, soaked in and dried in the crevices.
Canadian artist Michael Goodson explores the geography of the human face with his large-scale tactile portraits.
Goodson uses layers of acrylic paint and silicone to create "flow and directionality" in his paintings.
He then added paint into the crevices of the relief created on the canvas, allowing it to accumulate and dry.
Goodsons works appear to be lifelike portraits from a distance, while up close they resemble complex topographic maps.
