Self Portrait 1978

Editor: This is David Bowie's "Self Portrait" from 1978, a charcoal drawing. I'm struck by the heavy lines and the somewhat distorted features, giving it a very expressive, almost uneasy feel. How do you interpret this work? Curator: The dynamism within the drawing immediately grabs my attention. Note the deliberate choice of charcoal – its inherent capacity for varied tonal gradations allows for stark contrasts, accentuating the planes of the face and hand. Consider the significance of line weight; thicker strokes delineate the contours of the figure, imbuing it with volume, while finer lines suggest interior modeling and textural detail. Observe the hatching technique employed. Where does it intensify? What effect does that have on the overall composition? Editor: I see what you mean, the hatching around the eyes and the neck creates a sense of depth and almost a shadow, focusing your gaze there. But what about the hand? It seems almost disconnected. Curator: Precisely. The hand, seemingly suspended, acts as a visual anchor and it seems intentionally disconnected. Does the artist create symmetry? And does it create visual tension that elevates it beyond a mere representation to become a profound exercise in compositional balance and expressive mark-making. Editor: So, you're saying the perceived imbalance is actually a crucial part of the drawing’s formal success. I wouldn’t have considered it that way. Curator: Indeed. Through a focused consideration of the elements and their interaction, we gain access to the mechanics through which artistry makes something stand out. Editor: That’s a great way to put it! I learned a lot from examining those compositional choices. Curator: And I, by sharing in your evolving insight.