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Andrew S. Conklin
Motion Capture Studio 7 - Original Oil on Linen Painting with Multiple Figures

2017

$16,500
£12,749.11
€14,739.18
CA$23,315.69
A$26,150.10
CHF 13,694.40
MX$317,749.22
NOK 173,895.98
SEK 164,865.64
DKK 110,020.23

About the Item

Motion Capture #9 explores the conventional representation of females in Western figurative art yet contrasting it with the contemporary imagery of that subject via computer-based image technology. Conklin's curiosity regarding the new ways to depict the human form, using electronic technology, seem to challenge the traditional methods he relies upon. It is a commentary on the similarities and differences between the studios of the painters and the technicians Andrew S. Conklin Motion Capture 7 oil on linen 54h x 72w in 137.16h x 182.88w cm Andrew S. Conklin Artist Statement—Motion Capture Studio Series Andrew S. Conklin, a native of Chicago, Illinois, is a figurative painter. Conklin's paintings are a product of his direct interaction with the figure model, unmediated by photography. While he uses the traditional techniques of the old masters in his painting practice, his recent series grows from a keen interest in the range of digital imaging approaches and the way they can alter perceptions of the body. In his Motion Capture Studio series, Conklin examines the spaces where computer technicians record human movement for video game characters. In this environment he sees both similarities and differences between traditional artist studios and the vanguard of image processing spaces. In paintings such as Motion Capture Studio 2, the female athletes in the left panel prepare to perform, while on the right panel, one figure is being fitted with tiny glass markers attached to her body, which will allow the technicians around her to record her movements. While stylistically his work fits into the tradition of figurative painting, he is interested in the notion of using an old method of depiction (painting) to show twenty-first century arenas where computers and artists “sculpt” the human form using only digital code. Being a contemporary figurative painter in a time when the proliferation of figurative images through photography, video or computer programs challenges the notions of depicting reality, Conklin believes images captured in oil painting connect us to the perennial. He builds tension between a virtual world and the traditional history of art, and opens a dialogue between the parts of ourselves that are changing and those that remain the same.
  • Creator:
    Andrew S. Conklin (1961, American)
  • Creation Year:
    2017
  • Dimensions:
    Height: 54 in (137.16 cm)Width: 72 in (182.88 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Chicago, IL
  • Reference Number:
    Seller: ACK0011stDibs: LU55431922143

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Courtney Standing on One Foot, (study for Motion Capture 6) - Original Oil Paint
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Apollo and Artemis, Mythological Figures Depicted in a Classical Pose
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Kelsey Seated, Arm on Mac - Original Oil Painting, Study of a Dancer
By Andrew S. Conklin
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A study for a series of larger paintings based on motion capture studios, this painting combines classic technique with modern sensibility. Here the seated model leans against an antiquated iMac. Upon closer examination, the preparatory sketch lines are visible on the model's feet and her forearm. Unfinished works were first seen during the Renaissance with Masters such as Leonardo da Vinci, Michelangelo and Donatello. It became fashionable to leave works incomplete, so much so, that it became an aesthetic term 'non-finito'. Andrew S. Conklin Kelsey Seated, Arm with iMac oil on panel 12h x 17w in 30.48h x 43.18w cm ACK011 Motion Capture Paintings, Chicago My recent painting series describes the reality of motion capture environments by showing the interplay between female athletes and male technicians. These paintings are meant to explore conventions of female representation in Western figurative art and to contrast this past practice with the contemporary imagery of that subject via computer-based image technology. This project was instigated by a number of things: first, by my abiding interest in depicting the human form in paint, as I find its versatility in a design, its invitation to empathy, and its difficulty, to be something worth attempting to depict with success. In addition, my curiosity regarding the new ways to depict the form using electronic technology seem to challenge to the traditional methods I rely upon, and I wanted to comment on the similarities and differences between the studios of the painters and the technicians. In this way, I aim to continue my investigation into what I see as the contrasting quality of human nature, and symbolically represent opposites such as mind and body, analog and digital, realism and idealism, terrestrial and the transcendent. Andrew S. Conklin is a figurative painter. He holds an MFA from the Academy of Art University, and studied painting at the National Academy of Design in New York City with Harvey Dinnerstein...
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21st Century and Contemporary Contemporary Figurative Paintings

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