blackface (online) The project delves into the complexities of representation, bias, and the creation of identity in portraiture. (cultural appropriation)

An exploration of what it is to paint black ink portraits of computer-generated people of colour, identified by their geography - Nigerian, Congalese etc.

_{The portraits are black ink on white background; no greys. The ink always appears fresh. The first lie is made when creating the base image; it's computer-generated. It uses a biased and highly-generalised system to interpret what "race" looks like. We are not using real people to accentuate the disparity from our perceived source. The second lie is told when the artist chooses which images to paint.}

PROCESS: Black ink is painted directly to sheer plastic surface - completely transparent - offering the image in full detail. The ink, however, brutally simplifies its intricasies and opaquely covers them up with only black.

Interrogating Representation and Bias in Portraiture

Concept Overview: The project delves into the complexities of representation, bias, and the creation of identity in portraiture. It centers on the creation of black ink portraits depicting computer-generated people of color, each identified by their geographical origins such as Nigerian, Congolese, and so forth. These portraits are rendered in stark black ink on a white background, devoid of any shades of gray, with the ink always appearing fresh and vibrant.

The First Lie: The initial deception occurs during the creation of the base images. Utilizing a biased and highly generalized system, these computer-generated images attempt to define what "race" looks like. However, these images are not derived from real individuals but rather from a system's interpretation, accentuating the disparity between perceived sources and actual representation.

The Second Lie: The second deception occurs when the artist selects which of these computer-generated images to transform into physical ink portraits. This selection process reflects personal biases, societal norms, and preconceived notions of identity and beauty, further complicating the narrative surrounding representation.

The Process: The process of creating these ink portraits is meticulously crafted to enhance the thematic elements of the project. Black ink is delicately painted directly onto a sheer plastic surface, completely transparent, allowing the image to be viewed in its full detail. However, the ink's application brutally simplifies the intricacies of the image, obscuring nuances and complexities with a layer of opaque blackness. This deliberate act symbolizes the veiling of identity, the suppression of diversity, and the masking of true representation.

Artistic Impact: Through this exploration, "Inked Lies" invites viewers to question their assumptions about identity, representation, and the role of technology in shaping our perceptions. It challenges the notion of authenticity in portraiture, prompting conversations about bias, stereotyping, and the complexities of visual storytelling in a technologically driven world.

Exhibition Format: The project could be presented as an immersive exhibition, featuring a series of these black ink portraits displayed alongside digital screens showcasing the computer-generated base images. Interactive elements such as artist talks, panel discussions, and audience feedback sessions can further engage viewers in critical discourse surrounding the themes explored.