One popular option is the Procreate app, which allows you to draw and sketch on your iPad. If you’re interested in creating your own faceless portraits, there are a variety of tools and techniques you can use. Others may choose to draw or paint a portrait without any facial features at all. Some artists and photographers will simply crop the image to remove the face, while others may use blurring or other effects to obscure it. To create a faceless portrait, there are a few different techniques you can use. This can create a sense of mystery or intrigue, and allow the viewer to project their own experiences and emotions onto the image. Without a face to read, the viewer is left to imagine the subject’s thoughts and feelings. By removing the distraction of facial features, the viewer can take in these details more fully.Īnother advantage of faceless portraits is that they can evoke a range of emotions and interpretations. This might include their body language, clothing, or the environment they are in. One of the benefits of faceless portraits is that they allow the artist or photographer to highlight other elements of the subject. This can create a mysterious and intriguing effect, allowing the viewer to focus on other details in the image. FACELESS Transforming Identity: Blak/Black Artists from North Australia, Africa and the African Diaspora is an exhibition that challenges established notions of identity and explores ways in which interpretations of identity can be manipulated or redefined by blak/black artists through a revisioning of the face using devices such as embellishment, erasure, and disguise.Faceless portraits, also known as noppera-bō in Japanese, are images that deliberately leave out the subject’s facial features. Working closely with fifteen North Australian Aboriginal and Torres Strait Islander artists and ten African and African Diaspora artists, Cairns Art Gallery has curated this ground-breaking exhibition which brings together newly commissioned and loaned works across a range of art forms and media. For each artist, the physicality of the face, as a marker of identity, is explored and redefined within particular social, cultural, and political frameworks and contexts, to offer new meanings and interpretations.įor the artists in the exhibition the face is an important signifier of identity and by manipulating it or changing it in some way, they present more complex readings shaped by historical, political, and social contexts. To support the exhibition the Gallery has commissioned two highly respected research/writers to contribute essays that offer alternative readings for the work of the artists included in the exhibition.ĭr Chelsea Watego (formerly Bond), a professor of Indigenous health at Queensland University of Technology Bond, has written an essay entitled More than the masks we wear, which offers multiple interpretations of issues that inform works by Aboriginal and Torres Strait Islander artists included in the exhibition. I have always been interested in identity, and the disjuncture between what my body felt in its being, and how it has supposedly become known within the health sciences and humanities in which I labour. …It would take me some time to come to understand the dispossessing function of identity in the colony, of never being enough, as either Black or Indigenous. But this is why I have been interested in the intellectual and political work of our artists who have the freedom to theorise about our world, how we came to be and know, without being bound by the disciplinary parameters so many of us have been trained in. And so, it’s the artists we turn to, to give expression to what we know about who we are as a people, not as a past people, or a lost culture, or as less than human, but as a people, fully human, here and now. Renée Mussai is the Senior Curator and Head of Curatorial & Collections at Autograph, London, and guest curator and former fellow at the Hutchins Center for African & African American Research at Harvard University. In an excerpt from Renée Mussai’s essay entitled Afro-Camouflage: Eyes Wide Open (working title) she raises questions about facelessness as an expression of identity, or lack of it, Her essay explores complex readings of history and the relation of politics to identity and blackness, in order to ‘navigate the multiple frontlines of colour, both on the African continent and in its diaspora’.
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