Examining why Artists paint themselves.

Self-portraits hold a unique and profound place in the history of art, serving as both personal explorations and universal statements. For artists, creating a self-portrait is an introspective act that bridges their inner identity and outward expression. It allows them to confront questions of self-perception, legacy, and their relationship to the world around them. In figuration specifically, self-portraits offer a deeply human connection, as they rely on the physicality and presence of the artist's own form to communicate their ideas.

In Kaleigh Blevins current exhibition “Or Something” Blevins incorporates several self portraits into this body of work offering an inherently intimate look into who she is or wishes to be seen at a particular moment in time.

The practice of self portraiture has persisted in art for centuries, from the Renaissance masterpieces of Albrecht Dürer and Rembrandt to the deeply emotional works of Frida Kahlo. These works often transcend mere representation, delving into psychological, emotional, and social dimensions of the self.

In contemporary art, the definition of self-portraiture has expanded, incorporating ideas of fluid identity, alter egos, and even absence, as artists use their work to question the nature of self and representation.

In figuration, the artist’s image can represent broader themes, shifting the focus from the personal to the universal. When using their own image to navigate themes of identity the artist challenges the viewer to question whether the image represents them, an alternate version of them or is providing broader commentary.

Blevins’s approach often involves utilizing her physical form as both subject and medium, using her body and face as tools to evoke emotion, provoke introspection, and question societal or social rules. For her, the deliberate use of her image allows her to explore themes of fragility, resilience, and the ways in which external forces shape internal realities. Her art often feels raw and melancholy, creating a profound connection between the artist and the viewer. By situating herself within her work, Blevins not only asserts agency over her own representation but amplifies it’s emotional resonance making her a compelling contribution to contemporary figuration.

*You Can’t Just Fly On Off and Leave a Body,* 2024

Through the intimacy of the figure and her color choices, Blevins creates space for the viewer to look past the autobiographical. She manages to transform her likeness into a lens through which viewers can contemplate their own perspectives on identity and the human experience. Through the use of blue as the primary skin tone of her subjects she takes this one step further, delving into the idea of vanishing…taking up space while not really being present.

Blevins exhibit challenges traditional notions of representation and identity. Rather than confining herself to the category of self-portraiture, she employs her likeness as a vehicle. In that respect, her work is poses questions to all of us. Are we fully present in our environments, in our experiences, in our lives? Or are we simply fading into the background? And whom exactly are we looking at?