Hallowed Hair - Touch Response

"Besides being sexy to most people, head hair protects the brain from the sun's heat and ultraviolet rays, helps to insulate the skull, softens impact, and constantly monitors the world only a hair's breadth away from our body, that circle of danger and romance we allow few people to enter." Hair pg. 87

When reading this sentence, I had the mental image of hair being a kind of halo. Frequently in art, holy figures are crowned with a halo. This circle of light acts as shield. Since the halos frequently don't overlap, a set distance is created between the figures in the image. In some ways this happens in day to day life as well. Hair is not something that most individuals permit others to casually touch, like some people do with handshakes or hugs. In this way it creates an unspoken halo of personal space, which I depicted in a literal way, drawing inspiration of holy figures in art of the past.

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Chapter 9 - BLUE

The British tend to think of woad as a war paint—a symbol of the fierceness of Ancient Britons before the Romans conquered the country nearly two thousand years ago. Finlay, Victoria. Color (p. 340). some historians have suggested that Caractacus may not have needed to paint himself from a fermenting woad vat because he was already permanently painted. (p. 343). (black on pale skin tends to go blue), (p. 344)

My Favorite Chapters

Untitled Digital Painting But one of Turner’s favorite reds may well have been cinnabar— which he used in its manufactured form, vermilion, and which Pliny described as the result of an epic struggle by an elephant and a dragon. These two troublemakers were always fighting, Pliny recounted, and the battle eventually ended with the dragon—evidently a rather snaky one—wrapping its coils around its heavy enemy. But as the elephant fell it crushed the dragon with its weight and they both died. The merging of their blood made cinnabar. Finlay, Victoria. Color (p. 178). Random House Publishing Group. Kindle Edition. This short tale was entirely new to me when I read it. It created a vivid image in my mind, and as someone who loves folklore and fairytales, I was drawn to creating an illustration for this story. Untitled Acrylic paint on body, photographed T he British tend to think of woad as a war paint—a symbol of the fierceness of Ancient Britons before the Romans conquered the...

All Six

This piece, entitled All Six, consists of six pairs of fabric slippers. Each one represents a member of my immediate family. My youngest sibling is in high school and he has the shoe size of an adult man. I chose to depict our shoes as child sized, since I still cling to the image of my siblings as small kids, no matter how old we get. Downtown Saint Augustine is the landscape for this piece as it's a place full of fond memories of my family coming to visit me during my time at Flagler. While we never came to Saint Augustine as children, that childlike image of us, as we explored the city with our parents for the first time is one I hold dear. While this is my personal connection to the work, I also wanted to create a certain level of anonymity with the empty shoes, that could represent anyone from tourists roaming through the city, to a loved one you once walked with, but now only have memories of. The bottom of each shoe and closeup of stitching. My Mom walking on the fort. My ...

Allison Davis

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