Contemporary Portraiture: A Discussion of Peter Wilkins' 12 Kinetic Portraits

Portraiture - in Art, representation of human form - records outer surface of subject to reveal 'inner quality' - a tool of discovery and communication - cultural significance - technology advances in media practices influencing the

contemporary portrait

Peter Wilkins: 12 Kinetic Portraits - Peter Wilkins, UK multimedia artist living in Clarke's Beach, NL - Kinetic Portrait, silent non-manipulated digital video capturing subject in real time over a 5 min. video loop - Wilkins interviews subjects, asks to reflect on life and career accomplishments. Then records portraits, to show subject's true reactions & facial expressions - Wilkins' goal is to "create a more accurate and convincing portrait of the sitter...for people to occasionally recognize thoughts, glimses or reactions of the sitter...the true self of the sitter."

The Subjects

-To date, two collections of kinetic portraits consisting of twelve subjects, all recognizable persons to the public; Newfoundland personalities, Mary Walsh, Hon. John Crosbie, Craig Dobbin and Canadian writers Margaret Atwood, Yann Martel.

- wanted audience to re-evaluate perceptions of subjects, see them as everyday, real people.

Praises & Criticisms-some believe portraits grounded in Realism, with goal of presenting clear, rational 'picture' of a person, bringing new insight to observer, a successful integration of new media forms into traditional portraiture

-others skeptical of Wilkins' motives, why choose celebrities only? To appeal to public, to bolster the ego of Canada's cultural elite, to depict subject as hero? Presence of camera may appeals to the performer inside each subject, 'inner self' is lost

My Opinion- The Rooms, St. John's, NL, February 2007- Peter Wilkins: 12 Canadian Writers- I appreciate an attempt to present subject and his/her actions as the source of inspiration for art.

What do YOU think?- Do you think Wilkins' kinetic portrait is successful in using digital video to capture the 'true self' of a subject, or does this media integration remove the essence of a subject in contemporary portraiture?

http://www.wilkins.ws/portab.html