My current series originate from a will to develop my stories and to further build meaning in my work. Starting with images from my personal iconography, I experimented with various materials and techniques. Through the process I developed, a concept emerged slowly. In order to establish a dialogue and extend links between ideas, I started experimenting with a tablet, using it as a sketching tool. I noticed that the shapes formed by the digital tablet evoked the shapes of bones and that the coldness and perfect regularity of these shapes echoed with the artificiality characterizing a cyborg being. A concept started to emerge, the idea of the “Cyborgization of the Being”. More and more, we become disconnected to nature, and more dependent on technology. Technology is turning into a part of us; we are becoming technology as it is changing our minds and bodies.
The shapes originating from the digital brush required the construction of various templates. In successive layers, playing with transparencies, these shapes composed a bone structure along with its skin. Once I was satisfied with the digitally created imagery, my intent was to faithfully reproduce it with traditional painting tools.
The concept eventually took hold of the content and started directing the subsequent paintings. Since a work of art feeds on another work of art, I reflected on how the “Venus of Urbino” by Titian, depicting a woman indulging in masturbation, was shocking and controversial at its time. It questioned and captured imaginations and it still does today. This lead to the following question. Could a cyborg indulge in pleasure, an activity usually engaged in by humans? Could a cyborg experience emotions originating from sexuality, like we, human beings, do? Will cyborgs eventually be able to create art, to write a poem? Presently, robots are incapable of gaining a consciousness or displaying complex emotions, but for how long?
These theme explorations lead to a “synthesis” series of paintings, digital prints, film photographs, cyanotypes and traditional prints. These series were built by opposing ancestral techniques such as ones inspired by the Old Masters in oil painting, film photography and cyanotype techniques to current digital printmaking and acrylic painting techniques and materials using contemporary imagery and ideas.
The opposition between reality, authenticity, and emotions versus illusion, cyborgization and artificiality is what has been fueling these works.
- L. Finet
Oil on wood panel
14 x 14 in. / 35.6 x 35.6 cm