"facets", 2005, flyer for the opening


workseries from 2005,
consisting of 13 paintings

  A series of portrait works, originating from the concept that the represented person is primarily revealed through what is being expressed in a single moment.  By focusing on a sequence of isolated snapshots the subject is removed from the receptional implications of a lengthy study.

   The result of this approach is a visual representation that is unbound from the context of receptional circumstances and exceeds the time frame of it's creation.  The focus does not lie on the emotional context of the portrayed person, but rather on the expression of the situation-independent personality.

from the press text
(translated from german):

  "It's as if you're distilling your emotional response to the individual in front of you,"
Felicity Papp says.  "As a result, the emotional content that is transposed onto the canvas in the end is condensed to what the person exhibits, rather than reflecting the artists perception and response."

  Based on the opinion that the essence of the person is both contained behind the surface of the portrayed object as well as expressed upon it, the process, which aims to achieve a compository visualization, begins with the person's visual deconstruction.  "It takes anything between 50 and 250 photographs to create that vantage point where you detach your observation from the personal relationship you might have with the model," the artist says.  "You can see when the subject starts to seperate from the context of the situation.  That is what I am looking for, this moment of introspection that is un-affected by the surrounding circumstances." The sequence of momentary captures allows for what Felicity Papp calls the 'splicing of continuitive reception'.
   The selection of thusly obtained fragments of the personality allows for the contextual independent composition of the final product.  The adjoining reassembly takes place on the the artist's canvas, uniting the temporal fragments into a new whole.

  "It's a very conceptional approach that is not part of my usual work regime," the artist says.  "It was a conscious attempt to alter they way I would approach the person in front of me.  It enables me to really explore that person to a much deeper degree; it allows me to channel my empathic reaction."

  The resulting works have a quiet impact that is felt by the viewer.  The tranquility of the images seems to be contradicted by their intensity.  When attending the opening I noticed a lack of the usually observed visual consumption attitude that has visitors move from one exhibit to the next with the intention of sampling everything first.  The viewers remained locked in front of individual pieces much longer, as if drawn in by the serenity of the paintings rather than musing over the mechanics if the image.