Self Portrait (as The Driver)
2024
Andrew Brischler's 'Self Portrait (as The Driver)' employs a distinctive halftone dot technique to create a pixelated, screen-printed aesthetic in brilliant cyan and navy tones. The large-scale work on paper mounted to panel demonstrates the artist's exploration of photographic reproduction processes and self-representation. The fragmented, dotted surface creates an ethereal quality while referencing both contemporary digital imaging and vintage print media.
- Medium
- Gouache, colored pencil, and graphite on paper mounted to panel
- Dimensions
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Sigmar Polke
German · b. 1941
Polke famously incorporated enlarged halftone dot patterns into figurative paintings and works on paper, directly referencing the mechanical reproduction processes of print media. His Rasterbilder series shares the same pixelated, screen printed aesthetic and tension between photographic source material and abstract dotted surface that defines Brischler's self portrait.
Roy Lichtenstein
American · b. 1923
Lichtenstein built his entire visual language around the Ben Day dot and halftone printing techniques borrowed from commercial and comic print media, rendered in bold cyan and navy tones strikingly similar to Brischler's color palette. His large scale works on paper translate mechanical reproduction processes into fine art with the same deliberate, graphic precision seen in this self portrait.
Chuck Close
American · b. 1940
Close built his career on large format portrait and self portrait works that fragment the human face into gridded, pixelated units directly echoing photographic and print reproduction systems. His exploration of systematic mark making on a grand scale to construct a recognizable yet abstracted face mirrors both the technical approach and self representational subject matter in Brischler's piece.
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