The photorealism movement was born as a counter to the widely popular abstract expressionist movement, which gained substantial ground in the mid-20th century. For those of you unfamiliar, photorealism is an art form in which the artist uses modern media from photography or other digital technology to reproduce the physical reality that has been captured. While this artist movement is not as distinguished, photorealist paintings have been celebrated throughout the contemporary era. An excellent example would be Ken Danby’s “At the Crease,” a photorealist painting portraying a hockey goalie from the 70s preparing to face a shot on net. Danby’s piece was most widely celebrated in his home country, Canada, where the sport of hockey was born. While photorealism has made its mark in the history of contemporary art, it commonly goes unrecognized or unrepresented. I believe that many would argue that the main reason lies in photorealism’s “emotional neutrality.” Despite being an art form, it is often argued that photorealism lacks a creative process because the artist is painting an image from a photo reference. However, I think that the meticulous focus of photorealism represents a dedication to a memory or feeling that is unrecognized.
Prior to discussing the expressive nature of photorealism, I want to point out the meticulous nature of this artistic style. Richard Estes, by far the most well-recognized photorealist painter, was best known for his ability to depict reflections in his pieces. A good example is his painting “Double Self Portrait,” in which Estes uses oil paints to replicate a photograph of a storefront on which his reflection is visible in the store window, along with the cars, the stores, and the trees behind him. It’s incredible how precisely Estes is able to replicate the naturally occurring phenomenon of reflection simply using oil on canvas. These convincingly real paintings are not only highly detailed but also incredibly time-consuming. Oscar Ukonu, a Nigerian ballpoint pen photorealist artist, is known for his nearly three-dimensional portraits. Each of his large-scale pieces takes upwards of 100 hours to complete. This level of attention to detail requires a level of patience most human beings simply don’t have, but the results are stunning. In Ukonu’s “Blue Boy,” the stream of water flowing down the subject’s face is so realistic that he appears frozen in time. I find it even more impressive that the piece is monotone, which means Ukonu is crafting the reflections of the water using the negative white space in the canvas and micro shading using the ballpoint pen. Although one could reasonably question the emotional value of photorealist pieces, the skill and diligence of those who practice this art style cannot be challenged.
While it may seem difficult to derive an underlying meaning from Estes’s urban exploration or Ukonu’s blue portraits, other photorealist painters address more challenging subject matters. Denis Peterson, a New York-based photorealist, typically depicts individuals who face unfortunate conditions, among them homelessness and genocide. Peterson’s use of perspective and hyper-realism forces the viewer to reflect on the human experience and the contrast between the reality of the viewer and the individuals depicted in the painting. Photorealist artists recognize the emotional commitment inherent in portraying a feeling or emotion experienced in a specific moment. Their paintings serve as a vessel, allowing observers to glimpse their unique perspective on a situation, landscape, or individual.
