25 February 2013
Paul Beel, the winner of Premio Celeste 2009 Pittura’s section, speak about his new project in London Tube:
“For my entry in this year’s BP Portrait Competition at the National Portrait Gallery, I’m painting 13 sitters on the DLR train in a dynamic 65x240 cm composition. I also intend to produce a new animated video based on this unusual project. To paint on the train, I’ve had to design and build special equipment to ensure public safety, tidiness, and portability. This was essential in allowing me to have everything I need at my finger tips without taking up more space than an average commuter.
The DRL easel is supported by velcro straps which lash around my knees and ankles, giving me as much stability as one can hope for on a train, but the motion of the train is its most exciting aspect. The swaying and accelerations give the brush marks an unpredictable character, and curious commuters never ceased to be amazed that the work I’m doing can be accomplished under such circumstances. You may ask, “why paint on a train?”
First, I’ve always believed that painting from life adds a visceral aspect that is often lacking in photo-based painting, second, because I want to take the process of fine art portraiture into the public realm…and thirdly? Well, why did Hendrix play “Wild Thing” one-handed-behind-his-back at Monterrey? Because he could and people loved it. I thrive with an audience, and, when aware I’m being watched, will often paint with both hands at once, just for the sake of the drama it gives to my audience and the energy it lends to the brushwork.
The video will combine live footage and my unique brand of animation to create a visually stunning work, including a voiceover option for art students in which I discuss conceiving and planning a painting, techniques, and color usage.”
http://www.celesteprize.com/paulbeel
http://www.sponsume.com/project/dlr-live-oil-paint-and-video-rails
“For my entry in this year’s BP Portrait Competition at the National Portrait Gallery, I’m painting 13 sitters on the DLR train in a dynamic 65x240 cm composition. I also intend to produce a new animated video based on this unusual project. To paint on the train, I’ve had to design and build special equipment to ensure public safety, tidiness, and portability. This was essential in allowing me to have everything I need at my finger tips without taking up more space than an average commuter.
The DRL easel is supported by velcro straps which lash around my knees and ankles, giving me as much stability as one can hope for on a train, but the motion of the train is its most exciting aspect. The swaying and accelerations give the brush marks an unpredictable character, and curious commuters never ceased to be amazed that the work I’m doing can be accomplished under such circumstances. You may ask, “why paint on a train?”
First, I’ve always believed that painting from life adds a visceral aspect that is often lacking in photo-based painting, second, because I want to take the process of fine art portraiture into the public realm…and thirdly? Well, why did Hendrix play “Wild Thing” one-handed-behind-his-back at Monterrey? Because he could and people loved it. I thrive with an audience, and, when aware I’m being watched, will often paint with both hands at once, just for the sake of the drama it gives to my audience and the energy it lends to the brushwork.
The video will combine live footage and my unique brand of animation to create a visually stunning work, including a voiceover option for art students in which I discuss conceiving and planning a painting, techniques, and color usage.”
http://www.celesteprize.com/paulbeel
http://www.sponsume.com/project/dlr-live-oil-paint-and-video-rails
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