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After Image, 2022
Oil on Panel
24 x 30
Oil on Panel
In this self-portrait, artist and professor Kyle Hackett presents himself in regalia, his form rendered as a near-silhouette against a muted background. This measured composition serves as an exploration of the artist’s identity as a Black man navigating formalities within historical, structural, and institutional hierarchies.
Hackett investigates how self-referential painting methods can articulate systems of identity and power within and against the conventions of historical genres such as portraiture. Drawing from nineteenth- and twentieth-century portraiture, he works to destabalize notions of fixed identity and authoritative technique.
Through the staged self-aware portrait and indirect layered painting approaches, Hackett interrogates the mechanics of image-making itself. His portraits often reference contraptions, braces, and rigid postures associated with early photography – devices that physically stabilized and, at times, objectified the sitter – to connect ideas of pictorial restraint and inflection with the psychic tension of double consciousness. Within this exchange, Hackett foregrounds the power dynamics embedded in the picture plane, positioning the painted surface as a site where political and psychological forces converge.
24 x 30
Click artwork to view details (it may take a few seconds to load)
After Image, 2022
Oil on Panel
24 x 30
In this self-portrait, artist and professor Kyle Hackett presents himself in regalia, his form rendered as a near-silhouette against a muted background. This measured composition serves as an exploration of the artist’s identity as a Black man navigating formalities within historical, structural, and institutional hierarchies.
Hackett investigates how self-referential painting methods can articulate systems of identity and power within and against the conventions of historical genres such as portraiture. Drawing from nineteenth- and twentieth-century portraiture, he works to destabalize notions of fixed identity and authoritative technique.
Through the staged self-aware portrait and indirect layered painting approaches, Hackett interrogates the mechanics of image-making itself. His portraits often reference contraptions, braces, and rigid postures associated with early photography – devices that physically stabilized and, at times, objectified the sitter – to connect ideas of pictorial restraint and inflection with the psychic tension of double consciousness. Within this exchange, Hackett foregrounds the power dynamics embedded in the picture plane, positioning the painted surface as a site where political and psychological forces converge.
24 x 30
Oil on Panel
Click artwork to view details (it may take a few seconds to load)
After Image, 2022
Oil on Panel
24 x 30
Oil on Linen Mounted on Cradled Panel
25 x 30
In this self-portrait, artist and professor Kyle Hackett presents himself in regalia, his form rendered as a near-silhouette against a muted background. This measured composition serves as an exploration of the artist’s identity as a Black man navigating formalities within historical, structural, and institutional hierarchies.
Hackett investigates how self-referential painting methods can articulate systems of identity and power within and against the conventions of historical genres such as portraiture. Drawing from nineteenth- and twentieth-century portraiture, he works to destabalize notions of fixed identity and authoritative technique.
Through the staged self-aware portrait and indirect layered painting approaches, Hackett interrogates the mechanics of image-making itself. His portraits often reference contraptions, braces, and rigid postures associated with early photography – devices that physically stabilized and, at times, objectified the sitter – to connect ideas of pictorial restraint and inflection with the psychic tension of double consciousness. Within this exchange, Hackett foregrounds the power dynamics embedded in the picture plane, positioning the painted surface as a site where political and psychological forces converge.