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