Fragments of Humanity

Fragments of Humanity is a neo-Cubist exploration of identity and perception, merging photorealistic portraiture with the fragmented visual language of Cubism. This collection interrogates how physical appearance influences empathy, acceptance, and interpersonal dynamics. By distorting human features into fractured yet recognizable forms, the project invites viewers to confront their biases and question the role of aesthetics in shaping our relationships and societal structures. Conceptual Focus: 1. The Evolution of Cubism: Motivated by modern criticisms of Cubist artwork, this project began as an inquiry into the limits of traditional Cubism. I questioned whether its impact had been diminished by its non-photorealistic forms. Could the multiple and varied perspectives of Cubism carry more emotional weight if a more human element were introduced? As the project progressed, I found myself experiencing visceral emotions in response to the imagery, shifting the focus from Cubism itself to a psychological exploration of how we perceive, understand, and treat humans who are not exactly like us. 2. Empathy Through Discomfort: The disjointed faces evoke a sense of unease while maintaining a tether to the subject’s humanity. This tension invites viewers to reflect on their emotional reactions: do distortions amplify empathy, or do they create barriers to connection? For example, multiple images caused unease as they reminded me of a particular childhood experience which to this day challenges my own insecurities about the appearance of others and my own empathy for their vulnerability. What feelings arise when you spend time with these images? Do you find yourself questioning your emotional responses, or perhaps confronting something unexpected? 3. Challenging Standards: The series challenges societal norms around beauty, symmetry, and identity, using fragmentation to subvert traditional expectations and highlight the inherent complexity of human appearance. Medium and Technique: Each piece combines pencil-coloring, digital manipulation, and generative Ai photorealistic enhancement to achieve a balance of abstraction and detail. I began with my own colored-pencil exercises from a Cubist workbook by artist Jason Chambers. This workbook provided a foundation for my exploration; Using these colorings, I used Ai to build on the fragmented aesthetic, weaving abstract illustration into realism. By blending these methods, the series transcends purely digital or traditional art forms, embracing technology as a new-media partner in exploring the human condition.