Bigindicator

Michelle Bratsafolis

Profile  |  Artworks  |  Exhibitions  |  Network  |  Comments
20160513214248-quadrants_web
Quadrants, 2014 Oil On Linen 16" W X 20" H © Michelle Bratsafolis
20160513214231-almost_21_web_copy
Almost 21, 2015 Oil On Lin En 16"W X 20"H © Michelle Bratsafolis
20160513214259-young_woman_in_a_hat_web
Young Girl in a Hat, 2015 Oil On Linen 24" W X 30 " H © Michelle Bratsafolis
20160513214321-profile_of_a_young_woman_web_copy
Profile of a Young Woman, 2015 Oil On Linen 16" W X 20" H © Michelle Bratsafolis
20160513214350-pedro_web_copy
Pedro, 2015 Oil On Canvas 16"W X 20"H © Michelle Bratsafolis
20160513214445-retiro_park_madrid__installation
Retiro Park Installation, Madrid, 2013 Cyanotype 11" W X 15" H © Michelle Bratsafolis
20160513214457-bratsafolis_chelsea_water_tower
Chelsea Water Tower, 2015 Cyanotype 11"W X 15" H © Michelle Bratsafolis
20160513214501-van_gogh_s_woodpile_web__vdb__copy
Van Gogh Woodpile, 2015 Van Dyke Brown 15"W X 11"H © Michelle Bratsafolis
20160513215447-tete_a_tete
Tete a Tete, 2016 Cyantype On Silk Organza 13"H X 19"W © Michelle Bratsafolis
20160513223634-soldier_boy
Soldier Boy, 2016 Cyanotype On Silk Organza 16" H X 18" W © Michelle Bratsafolis
20160513224106-woman_in_a_winged_bonnet_with_veil
Woman in a Winged Bonnet with Veil, 2015 Cyanotype On Silk © Michelle Bratsafolis
20160513215613-reverie_copy
Reverie, 2015 Paper Lithograph 11"H X 18"W © Michelle Bratsafolis
Quick Facts
Birthplace
New York
Lives in
Manhattan
Works in
Manhattan
Schools
Brandeis University, 1979, BA
Hofstra University School of Law, 1982, JD
National Academy School, 2016, Studio Art Intensive
Statement

Statement

My work explores the themes of identity, communication and memory.  I do this mainly through two mediums---painting and alternative photographic processes.  When I paint, most often in oil, I focus on people and what their expressions, gestures and clothing convey or communicate about themselves.  My goal is to memorialize what captures my interest in them, so that aspects of their humanity or individual personalities that caught my attention will not be lost.  At the same time, I am intrigued by the tension between what is seen and what is not, so I aim to balance the information that I put into a painting with the challenge of mystery, sometimes eliminating the details so that the viewer can imagine what is obscured and complete the story. 

Alternative photographic processes allow me to investigate memory and its preservation in different ways.  I use the cyanotype and van dyke brown processes, both invented in a bygone era, to explore my longstanding interest in these themes.  The camera-less prints that I create harness chance to capture fleeting moments in time, usually involving nature, landscapes, architecture or a combination of natural and man-made elements.  More recently I also have used these processes to explore my interest in the human figure, identity, and communication.

Sometimes I incorporate art historical references in my art, because reflecting on the work, materials and techniques of old masters allows me to pay homage to processes that may be on the brink of extinction, and consider whether to preserve or move beyond them in my practice.  Regardless of what I am doing, I always ask myself whether the viewer will see what I saw, feel what I felt, or understand what I felt when I saw it.  This interest in continuing a conversation begun with my perception and the desire to preserve something fleeting by putting my mark on the memory is what drives the evolution of my work.

 

 

ArtSlant has shutdown. The website is currently running in a view-only mode to allow archiving of the content.

The website will be permanently closed shortly, so please retrieve any content you wish to save.