Here I revisit my torqued figure monotypes suggested by the early twentieth century photographer Andre Kertesz.
I see the distortion as a symbolic response to the organic molecular liquidity of the form.
I’d say “enjoy”, but that would be presumptuous. I, for one, am open to any criticism or mud-slinging.
Or you can simply buy me dinner and a movie.
Tom Bennett
Elegy to Kertesz 4, 2010, monotype, 12″ x 12″
detail
Another monotype in a series dedicated to André Kertész. While pulling the print, sometimes the paper will be torn slightly due to heavier or more viscous ink and paint residue. Here it has happened slightly on the oval shape of the figure’s hip. I find here it may contribute to the piece, or maybe you can call me Polly, Polly Anna.
Tom Bennett
Elegy to Kertész #2, 2009, monotype, 12 x 18
detail
detail
I was thinking of the hungarian photographer André Kertész, when I was pushing the ink and paint around. He made a series of distorted nudes, inspired by the properties of water on the human form, but using mirrors to metamorphicize the figure. My father Harry had a book of these photos and I recall first browsing through it as an 11 year old.
Elegy to Kertész, monotype, 17″ x 11″
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