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

2017

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.
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