Analysis Of William Kentridge And Diane Victor

Two artists who were instrumental in my growth were William Kentridge and Diane Victor. I took from each of these artists only an aspect of their dexterity. Kentridge’s animated film “Pain and Sympathy” particularly interested me. The use of monochrome line was essential to the success of this piece, generating the the visual impact I yearned to create. Whilst visually, Diane Victors work, (Smoke Portraits) besides being facial portraits, differs from my own. Although the level of emotion behind her work correlates with my work.
William Kentridge’s piece, “Pain and Sympathy”, is a series of charcoal drawings that Kentridge documented, recording each altered image as they evolved into a film. Taking his feeling of disgust towards the apartheid, he used his personal experience to create a thought provoking piece, subtle in showing societies pain through self-reflection. “I was six years old and my father was one of the lawyers for the families who had been killed (in the Sharpeville massacre). I remember once coming into his study and seeing on
The advantage to this method is that the loose lines create a true feeling of life and movement. This is due to the amount of uncapped energy that you can feel looking at the primitive lines. I have thoroughly examined her approach and have applied it to my own work.
My art journey has taken many shapes, but learning from aspirational people like William Kentridge and Diane Victor has been instrumental in my growth. Each person lending a bit of themselves to me as I absorb and grow from each stimulation I can find. William Kentridge first introduced me to the possibility that more can be shown through black and white than with the use of colour. So in essence less is more. Diane Victor gave me the ability to loosen up, creating art from a feeling inside me and adding a more spiritual side to my