Carl funk paintings are known for
hyperrealism techniques and immediately
command your attention his paintings
suggest multiple references to art
history in particular just certain
Renaissance portraits that remain firmly
rooted in the presence hi and welcome to
watchmojo.com I’m Bianca and today I had
the opportunity to speak with artist
Carl
I started painting when I was 20 should
be 15 years ago and from that point on I
become very serious about figurative
painting and I’ve been doing it
full-time can you tell us a bit about
your process when painting I start by
taking photographs of the model and
sometimes I’ll take three or four
different posts of the model and I’ll
work from several photographs at once
and then draw the image onto the can but
sometimes I’ll projected on and trace of
the image onto the panel and then I
start building up the information
through a series of very thin glaze is
almost like a like a watercolor
consistency that sometimes I’ll take a
smaller brush and put in very detailed
small marks now I’ll keep building
glazes over top of that sometimes I
painted in somebody’s ear of three times
before I feel like I’ve I’ve actually
got it right so it’s part of the length
so it’s a consistent language through
the painting and when that happens then
the painting can be two months maybe a
little over it depends you use mostly
male subjects is there reason for them
when it started the series I was very
concerned about the narrative of the
paintings if I’d introduced a woman into
the demographics I was painting I was
worried that there would be a dialogue
with the male gaze the whole history of
the male gaze and that might take away
from the narrative of the paintings
which is more about the viewer being
able to get very close to the subject
and examining their services but having
no relationship with them and there’s no
contact there’s no emotional connection
just there being an objective for you’re
looking at the subjects now this
particular exhibition is very filled
with I would say I guess border jackets
when have you always been very
interested in that in that texture and
paint a matter is that a recent
development these these rain jack is the
kind of scape ore patagonia jacket or a
snowboarding jackets they’re very
average everybody has them and it more
about function and not fashion it’s
really a way of keeping the subject
neutral when I moved to New York density
of the people and I just found it
overwhelming and how you go to a street
corner if you’re on a busy subway car
you can be standing you know chest to
back with somebody or shoulder to
shoulder and you’re forced to look at
the back of their head and you can you
can see them very intimately you can see
all the information in there there
their flesh so I want the subjects to to
be faced away from the viewer have their
eyes closed almost like they’re
internalizing them in them and
themselves and they’re not aware of the
viewers presence some people say there’s
almost like that that moment we’re like
what if they turned around and caught me
being a voyeur or coffee looking at
hyperrealism techniques and immediately
command your attention his paintings
suggest multiple references to art
history in particular just certain
Renaissance portraits that remain firmly
rooted in the presence hi and welcome to
watchmojo.com I’m Bianca and today I had
the opportunity to speak with artist
Carl
I started painting when I was 20 should
be 15 years ago and from that point on I
become very serious about figurative
painting and I’ve been doing it
full-time can you tell us a bit about
your process when painting I start by
taking photographs of the model and
sometimes I’ll take three or four
different posts of the model and I’ll
work from several photographs at once
and then draw the image onto the can but
sometimes I’ll projected on and trace of
the image onto the panel and then I
start building up the information
through a series of very thin glaze is
almost like a like a watercolor
consistency that sometimes I’ll take a
smaller brush and put in very detailed
small marks now I’ll keep building
glazes over top of that sometimes I
painted in somebody’s ear of three times
before I feel like I’ve I’ve actually
got it right so it’s part of the length
so it’s a consistent language through
the painting and when that happens then
the painting can be two months maybe a
little over it depends you use mostly
male subjects is there reason for them
when it started the series I was very
concerned about the narrative of the
paintings if I’d introduced a woman into
the demographics I was painting I was
worried that there would be a dialogue
with the male gaze the whole history of
the male gaze and that might take away
from the narrative of the paintings
which is more about the viewer being
able to get very close to the subject
and examining their services but having
no relationship with them and there’s no
contact there’s no emotional connection
just there being an objective for you’re
looking at the subjects now this
particular exhibition is very filled
with I would say I guess border jackets
when have you always been very
interested in that in that texture and
paint a matter is that a recent
development these these rain jack is the
kind of scape ore patagonia jacket or a
snowboarding jackets they’re very
average everybody has them and it more
about function and not fashion it’s
really a way of keeping the subject
neutral when I moved to New York density
of the people and I just found it
overwhelming and how you go to a street
corner if you’re on a busy subway car
you can be standing you know chest to
back with somebody or shoulder to
shoulder and you’re forced to look at
the back of their head and you can you
can see them very intimately you can see
all the information in there there
their flesh so I want the subjects to to
be faced away from the viewer have their
eyes closed almost like they’re
internalizing them in them and
themselves and they’re not aware of the
viewers presence some people say there’s
almost like that that moment we’re like
what if they turned around and caught me
being a voyeur or coffee looking at
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