ARTWORK (drawing) self portrait series

Tristan Griffin self portrait pastel on paper

ABOVE: self portait series chalk pastel on paper

 Early Renaissance in the mid-15th century that artists can be frequently identified depicting themselves as either the main subject, or as important characters in their work.In the 17th century, Flemish and Dutch artists painted themselves far more often.
Rembrandt was the most frequent self-portraitist, at least until the self-obsessed modern period, also often painting his wife, son and mistress. At one time about ninety paintings were counted as Rembrandt self-portraits, but it is now known that he had his students copy his own self-portraits as part of their training. Modern scholarship has reduced the autograph count to something over forty paintings, as well as a few drawings and thirty-one etchings, which include many of the most remarkable images of the group. Many show him posing in quasi-historical fancy dress, or pulling faces at himself. His oil paintings trace the progress from an uncertain young man to the dapper and very successful portrait-painter of the 1630s to the troubled but massively powerful portraits of his old age.

ARTWORK (painting) Absinthe

Tristan Griffin Absinthe Oil on board

The legacy of absinthe as a mysterious, addictive, and mind-altering drink continues to this day. Though its psychoactive effects and chemical makeup are contested, its cultural impact is not. Absinthe has played a notable role in the fine art movements of Impressionism, Post-impressionism, Surrealism, Modernism, Cubism and in the corresponding literary movements.

The content of this painting was not the primary focus, but instead is an exploration into hyperrealism. Hyperrealism is a genre of painting and sculpture resembling a high-resolution photograph. Hyperrealism is considered an advancement of Photorealism by the methods used to create the resulting paintings or sculptures. The Hyperrealist style focuses much more of its emphasis on details and the subjects. Hyperreal paintings and sculptures are not strict interpretations of photographs, nor are they literal illustrations of a particular scene or subject. Instead, they utilize additional, often subtle, pictorial elements to create the illusion of a reality which in fact either does not exist or cannot be seen by the human eye. Furthermore, they may incorporate emotional, social, cultural and political thematic elements as an extension of the painted visual illusion. Hyperrealism incorporates and often capitalizes upon photographic limitations such as depth of field, perspective and range of focus. Anomalies found in digital images, such as fractalization, are also exploited to emphasize their digital origins by some Hyperrealist painters.

ARTWORK (drawing) Memento mori

Tristan Griffin Memento mori Charcoal erasure on paper

In art, mementos mori are artistic or symbolic reminders of mortality. In the European Christian art context, "the expression... developed with the growth of Christianity, which emphasized Heaven, Hell, and salvation of the soul in the afterlife."

Memento mori ("remember that you have to die") is a Latin expression, originating from a practice common in Ancient Rome; as a general came back victorious from a battle, and during his parade ("Triumph") received compliments and honors from the crowd of citizens, he ran the risk of falling victim to haughtiness and delusions of grandeur; to avoid it, a slave stationed behind him would say "Respice post te. Hominem te memento" ( "Look after you [to the time after your death] and remember you're [only] a man."). It was then reused during the medieval period, it is also related to the ars moriendi ("The Art of Dying") and related literature. Memento mori has been an important part of ascetic disciplines as a means of perfecting the character by cultivating detachment and other virtues, and by turning the attention towards the immortality of the soul and the afterlife.

ARTWORK (painting) water droplets

Tristan Griffin water droplets acrylic on paper

This artwork is exploring painterly techniques to emulate the photographic technique of depth of field.  In optics, particularly as it relates to film and photography, depth of field (DOF), also called focus range or effective focus range, is the distance between the nearest and farthest objects in a scene that appear acceptably sharp in an image. Although a lens can precisely focus at only one distance at a time, the decrease in sharpness is gradual on each side of the focused distance, so that within the DOF, the unsharpness is imperceptible under normal viewing conditions.

In some cases, it may be desirable to have the entire image sharp, and a large DOF is appropriate. In other cases, a small DOF may be more effective, emphasizing the subject while de-emphasizing the foreground and background. In cinematography, a large DOF is often called deep focus, and a small DOF is often called shallow focus.

ARTWORK (drawing) Happy Anniversary

Tristan Griffin Happy Anniversary Oil paint, chalk pastel and charcoal on paper

These two incredible people have always been an inspiration to me. They have shown me through their actions and love for one another that no matter how hard times get. Tomorrow the sun will rise and things can only get better.
Thankyou for being yourselves. Thankyou for being there for me.  And I thank god for giving me two amazing parents.

ARTWORK ( painting) Socially acceptable sin

Tristan Griffin  Socially acceptable sin  Oil on board

This work was exhibited at the byron bay arts classic in 2015.
http://www.byroncentre.com.au/portfolio-post/tristan-griffin-socially-acceptable-sin/

ARTWORK (sculpture) Geometric

Earthen ware ceramic

Earthen ware ceramic

Through the use of ceramics these works explore the techniques of Clifford Last and the geometric form. 

Clifford Frank Last (1918–1991) was an English sculptor. The materials with which Last worked included bronze, slate, wood and aluminium. Using wood as his favoured medium, Last furthered his studies at the Royal Melbourne Institute of Technology. After he spent fourteen months back in England in 1950–1951, Last’s work took on a more geometrical form. He explored the use of shapes that he believed demonstrated the emotions existing in family groups and then explored subjects such as dualism and Trinity through the manipulation of religious references and symbols.

Last preferred the work to speak for itself and, unless asked, opted not to go into detail. He carved wood such as Jarrah, using, for example, the cruciform shape in relativistic relationships which left interpretation open. One such form could refer to animals, plants, icons, people or groups.

Clifford Last, Metamorphosis I 1984