{"id":1015,"date":"2010-01-15T01:08:20","date_gmt":"2010-01-15T06:08:20","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=1015"},"modified":"2014-12-14T21:22:55","modified_gmt":"2014-12-15T02:22:55","slug":"textural-bodypaint","status":"publish","type":"post","link":"http:\/\/fredhatt.com\/blog\/2010\/01\/15\/textural-bodypaint\/","title":{"rendered":"Textural Bodypaint"},"content":{"rendered":"
\"\"<\/a>

Vivid Dust, 2000, bodypaint and photo by Fred Hatt<\/p><\/div>\n

Looking through my personal library this week, I came across an old book called “Design by Accident<\/a>” by James F. O’Brien.\u00a0 It’s full of ways to incorporate chance and natural phenomena into visual arts and crafts.\u00a0 Just the Table of Contents makes me feel inspired, so I’ll share it here:<\/p>\n

Tree Forms:\u00a0 trunks and branches formed by the movement of pigments and liquids<\/p>\n

Cracks and crackle:\u00a0 layers in tension<\/p>\n

Crawl:\u00a0 rejection of paint by an incompatible surface<\/p>\n

Drip, Dribble, Drop:\u00a0 Pollock’s discovery and random patterns<\/p>\n

Splash and Run:\u00a0 designs formed by vigorous impact and gravity<\/p>\n

Flow and Swirl:\u00a0 “marble effect”<\/p>\n

Wrinkles and Folds:\u00a0 folding and bending of surfaces<\/p>\n

Flowers:\u00a0 patterns formed by drops of pigment on a coated surface<\/p>\n

Max Ernst’s frottage<\/em><\/a> technique and Pollock’s drips<\/a>, Rorschach’s psychoanalytic ink blots<\/a> and Hans Jenny’s Cymatics<\/a> are among the well-known examples of this kind of thing in recent culture, but scenic painters, fabric artists, faux-finish<\/a> decorators and craftsmen have always used these methods.\u00a0 It is impossible to control the outcome tightly, but letting go of such control allows the magic of physics to impart its inimitable majesty.<\/p>\n

For much of my own work the human body has been my playground, and I’ve used some of these techniques to create textural effects in body painting.\u00a0 In this post I’ll share several examples.<\/p>\n

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Splatter, 1997, bodypaint and photo by Fred Hatt<\/p><\/div>\n

Squeezing paint from squeeze botttles and letting colors run into other colors produces beautiful effects.\u00a0\u00a0 In the 1990’s I used to do this kind of body painting as a cabaret act in collaboration with performance artist Sue Doe<\/a>, using fluorescent paints that glowed under blacklight.\u00a0 One of our performances at the Blue Angel Cabaret<\/a> was featured in the HBO series Real Sex<\/a> <\/em>episode 25.\u00a0 I’ll do a whole post about the blacklight performances some day, but for now here’s one image of the squirting technique under blacklight:<\/p>\n

\"\"<\/a>

Green Snake, 1998, bodypaint and photo by Fred Hatt<\/p><\/div>\n

And here are the beautiful fluorescent colors running thin as they are cleaned off in the shower:<\/p>\n

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Rinse, 2002, bodypaint and photo by Fred Hatt<\/p><\/div>\n

Handprints have been used since the stone age to make dynamic patterns in paint:<\/p>\n

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Handprints, 1992, bodypaint by Fred Hatt and Jen S., photo by Fred Hatt<\/p><\/div>\n

When tempera paint dries, it cracks and flakes off.\u00a0 The crackled texture adds an air of antiquity to this freeform painting:<\/p>\n

\"\"<\/a>

Fresco, 1996, bodypaint and photo by Fred Hatt<\/p><\/div>\n

And here, a coat of paint on the body has been rewetted and worn thin, drying with a marbled effect:<\/p>\n

\"\"<\/a>

Marbled Belly, 1991, bodypaint and photo by Fred Hatt<\/p><\/div>\n

Sculptors’ clay smeared onto the body dries in a patchy way, depending on local thickness, making fleeting textural patterns:<\/p>\n

\"\"<\/a>

Wet and Dry, 2002, bodypaint and photo by Fred Hatt<\/p><\/div>\n

In this one, clay was applied first for texture, and then paint was applied over the rough, earthy surface:<\/p>\n

\"\"<\/a>

World Egg, 2002, bodypaint and photo by Fred Hatt<\/p><\/div>\n

In this body painting session, done for a cover illustration for Lauren Stauber<\/a>‘s haunting CD, Solarheart<\/em><\/a>, the first layer was yellow and red paint, with clay applied over it.\u00a0 The colors subtly bleed through the dusty clay surface.\u00a0 Dried flower petals are scattered on top of the body:<\/p>\n

\"\"<\/a>

Petal Strewn, 1998, bodypaint and photo by Fred Hatt<\/p><\/div>\n

Here, the model is covered with the dry powdered pigments used in the Hindu spring festival called Holi<\/a>.\u00a0 In the festival, which is celebrated in many places in India, and here in New York in Richmond Hill<\/a>, Queens, celebrants plaster each other with hurled vividly colored powders and liquid colors.<\/p>\n

\"\"<\/a>

Holi, 1999, bodypaint and photo by Fred Hatt<\/p><\/div>\n

Here, powdered pigments and bronze powder are used on the body, blended with massage oil:<\/p>\n

\"\"<\/a>

Jeweled, 1999, bodypaint and photo by Fred Hatt<\/p><\/div>\n

Here, the front of the body is painted with oil and powdered pigments, and the back with clay and red paint:<\/p>\n

\"\"<\/a>

Agate, 2002, bodypaint and photo by Fred Hatt<\/p><\/div>\n

In this one, the first layer is blue paint, with clay applied over that and bronze powder blown across to adhere to the wet areas when the clay is in the patchily dried state as seen in the black and white photo above:<\/p>\n

\"\"<\/a>

Lapis and Gold, 2001, bodypaint and photo by Fred Hatt<\/p><\/div>\n

Here’s a combination of the bronze powder with the powdered Holi pigments:<\/p>\n

\"\"<\/a>

Painted Desert, 2000, bodypaint and photo by Fred Hatt<\/p><\/div>\n

An important focus of my exploration of body painting is the experience of the person who is painted.\u00a0 Being painted is often experienced as a bodily transformation, an external experience of the skin that reflects or enables an internal shift of consciousness.\u00a0 This ritual aspect underlies the importance of body art in shamanic and theatrical performance.\u00a0 The stark white body paint associated with butoh<\/a> dance originated with butoh progenitor Tatsumi Hijikata<\/a>‘s experimentation with using plaster on his dancers’ bodies.\u00a0 He wished to intensify their movement by making them conscious of the entire expanse of their skin through tightness and discomfort.\u00a0 Oil, clay, powders and cracked tempera on the skin are tactile sensations that may be experienced as being one with earth or finding one’s wild animal nature.<\/p>\n

\"\"<\/a>

Animal, 1997, bodypaint and photo by Fred Hatt<\/p><\/div>\n

I’ll close with a dyptich of textural legs.\u00a0 In the upper image the paint is done not by the scattering or dripping methods used in many of the pictures above, but by tracing the blood vessels visible through the skin.\u00a0 The legs in the lower image are painted with blue powder over oil:<\/p>\n

\"\"<\/a>

Vessels, 2007, bodypaint and photo by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

Gateway, 2006, bodypaint and photo by Fred Hatt<\/p><\/div>\n

<\/p>\n

Other body painting, most of it more painterly in approach, can be seen on my portfolio site<\/a>, or on other posts on this blog under the category “Body Art<\/a>“.<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Looking through my personal library this week, I came across an old book called “Design by Accident” by James F. O’Brien.\u00a0 It’s full of ways to incorporate chance and natural phenomena into visual arts and crafts.\u00a0 Just the Table of Contents makes me feel inspired, so I’ll share it here: Tree Forms:\u00a0 trunks and branches […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[10],"tags":[133,23,44,22],"class_list":["post-1015","post","type-post","status-publish","format-standard","hentry","category-bodyart","tag-art-modeling","tag-bodypaint","tag-nudes","tag-technique"],"yoast_head":"\nTextural Bodypaint - DRAWING LIFE by fred hatt<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/fredhatt.com\/blog\/2010\/01\/15\/textural-bodypaint\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Textural Bodypaint - DRAWING LIFE by fred hatt\" \/>\n<meta property=\"og:description\" content=\"Looking through my personal library this week, I came across an old book called “Design by Accident” by James F. 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