Alastair C. Adams Triptych Response

Research for me is essentially based around issues surrounding the production of painted portraits, how they can convey issues relating to character, what they say about the person who paints them and how the process can cause those involved to identify with the experiences and emotions that construct their identity. Further to the initial launch of Triptych and discussions held in conjunction with Dublin Institute of Technology and Kingston University at the Irish Museum of Modern Art in Dublin, I was presented with an opportunity to identify with areas within my own emerging research profile and produce outcomes. Being in my first year of probation in a research based position at Loughborough University, I am currently involved in developing a practice based research agenda and responses to the Triptych impetus are, for me, an opportunity to explore the production of painted outcomes lead by a research context. Although DTI’s starting point within the Triptych framework was to respond to existing imagery I have decided to take the opportunity to identify and explore themes within my own work that can be placed within a painted, three panel based format.

When dealing with issues regarding engagement, contact, power, threat and isolation in solo portraiture images are inclined, by their very nature, to become singular, stand alone pieces. Responses to the direct level of engagement that these paintings offer and require are instinctive and “primeval”. Viewers have a gut feeling that, unless already versed, is hard to verbally communicate. This may be because they are addressing an inherently visual situation however without the benefit of contrasting imagery there is no opportunity to triangulate and develop a detailed viewpoint and understanding. Is it possible then that by viewing paintings in sequence the observer is allowed an insight into the potential manipulation of character, or at least shown several sides to the same personality. Within portraiture this manipulation by the artist is a powerful tool and can imbue the subject with desired, or un-desired qualities. These qualities can then convey to a viewer character, manner, attitude and identity, which inevitably lead to reflection upon the subject as an individual. In all the purpose of the production of a portrait, rather than being the physical reproduction of a likeness becomes a process that causes the viewer to identify with issues relating to the subjects past, present and future. If this is so then by turning the viewpoint around and giving partial ownership of the production to the subject, does the ongoing cathartic process re-define the required content and perceived purpose of portraits? In this way a portrait could be said to become the by-product of the process and a re justification of the content versus depiction would have to be negotiated.

With this viewpoint in mind how can this be linked to three representations of the human head? A tripych, or series of three images, could be seen as the minimum number of images required to convey the widest range of emotions. For instance, by using one as a control or normal we have two remaining opportunities to convey a positive and a negative. In it’s most traditional format the two outer panels of a triptych fold in to the centre panel, the two outer panels relating to, and being justified by, the centre panel. In this way a three outcome statement could explore non verbal communication and concequent meaning by emphasising viewpoint, mood and expression between two extremes.

The drawback of a traditional triptych format in this sense however is that it relies on the outer panels reflecting upon, and relating to, one main panel. To increase breadth it might be better to relate to three images, forming a cycle, where each has equal importance. Working from a cyclical point of view now introduces sequentially based connotations which, in turn, suggest natural rhythms and the passing of time, such as morning, noon and night. One of the greatest strengths of portraiture over conventional photography is that it allows a response to be generated over a period of time, capturing the essence of an individual by filtering relevant and irrelevant information. Would it be possible then to produce a sequence of three related portraits that identify with differing aspects of an individual’s personality, contrasted with themes associated with engagement, atmosphere and viewpoint? Can one exist without the other? Is this “filtering through time” an essential ingredient in producing incisive, quality portraiture or is it possible to use a model and imbue attributes that do not relate to them?

The production of a series of paintings such as this offers the opportunity to identify and explore issues relevant to my current practice based research framework.

Triptych: ‘∆’: Reflecting on Drawing Practice as Knowledge


1. Has working on this subject/theme altered your drawing process in any way?

It has allowed me the opportunity to consider and explore the interaction of multiples further. Producing an out come as the result of developing a text around a theoretical point of view rather than a visual point of view
Is also new to me

2. Has the idea of a possible collaborative outcome altered your thinking/working methods in any way?

I believe the possibility of a collaborative outcome with another generates images with a greater clarity of intent and direction. Further collaborations could stimulate yet greater outcomes.

3. How has the experience of your practice being reviewed and viewed by your peers in Triptych influenced the work?

This has not happened yet.


4. Have you discussed this piece of work/process with anyone else in Triptych while carrying out the work?

No.

5. Has anything you saw at the Triptych IMMA symposium influenced your thinking or process in any way?

The diversity of outcomes at the Triptych IMMA event has made me stronger and more determined to pursue work that identifies further with personal strengths and themes evident in my work.

6. What collaborative outcome would you suggest as being appropriate for this research group?

Exhibition and publication.