Crayons are not generally first on one's list of materials when it comes to making fine art. For Will Hatleberg '11, however, these preschool tools have been revolutionary, transforming his finely crafted oil paintings into sculptural, emotionally provocative gems.
Now an accomplished oil painter, Hatleberg began focusing his artistic interest as early as seventh grade. He took courses and worked as a studio attendant with a former high school art teacher who had also taught Hatleberg's brother and uncle. The budding artist continued to take courses throughout his pre-college career and became well-versed in still lives, figure studies and landscapes.
"When I began painting at the studio, I learned classical painting techniques, which shaped the direction my work has gone in," he explained. "Mostly the subjects I painted were dependent on the weather; in the winter I spent most of my time working on portraits, and in the summer, I painted the landscape outside. My teacher always taught me to paint from life, so all of my early work was done from live models or out in the field."
Hatleberg arrived in Brunswick intent on pursuing both art and science. After trying out preliminary visual art courses, he enrolled in Professor Jim Mullen's portraiture course his junior spring, and the genre soon became a new favorite. Hatleberg found that human subject matter could convey emotions more effectively than landscapes—a discovery that reinvigorated his painting process.
"I love how landscapes can emit a beautiful aesthetic," he observed. "I have found though that the depth of portraiture can be much stronger and can resonate with more people. In my portraits, I still use the painterly, expressionistic brushwork from my landscapes, but I have been able to more effectively achieve the emotional impact I've always wanted to produce."
Hatleberg painted a picture of his grandmother for his final project with Mullen, and he enjoyed the process so much that he decided to focus on painting elderly people in two independent studies his senior year. Instead of painting in oil, however, Hatleberg decided to test out a new medium: wax.
"I went on a field trip with the art department to New York City and was really inspired by the encaustics I saw on Roman-Egyptian sarcophagi," Hatleberg explained. "I decided to try out the process in my work and I found that wax really lent itself well to painting skin and flesh. The sculptural quality it gave my pieces really complemented the subject matter."
At Bowdoin, Hatleberg makes encaustics by melting down different colored crayons. He then applies the hot wax to thick matte board using paintbrushes. Though most of his subjects come from photos on Flickr, Hatleberg said he finds painting others' elderly loved ones a means by which all viewers can relate to his work.
"One of the powerful things about portraiture is that the viewer can feel empathetic toward any subject, even a stranger," said Hatleberg. "I want to create the same emotional connection in viewers as they would feel with their own relatives."
Though his work intially intended to express devotional respect for the elderly, it has since taken on a more somber tone. By focusing on themes of Alzheimer's and neglect, Hatleberg seeks to portray the beauty of the aging process.
"Through my work, I hope to display respect for people in a state that is not traditionally depicted," he explained. "While most people agree that they do not want to remember loved ones in a state of decline, these portraits depict a different side of the aging process that is very emotionally charged."
Having found such emotionally charged subject matter, Hatleberg said he hopes to continue painting portraits of the elderly in the future. He would also like to master encaustic as a medium. One challenge Hatleberg will confront is his plan to simultaneously obtain a Ph.D. in biology while continuing to pursue art, but he hopes to keep painting in his life for as long as possible.
"I would love to continue painting portraits of the elderly and obtain a deeper emotional connection with the subject matter," said Hatleberg. "Such a project could go in many directions, especially because concepts behind my current work are far from being fleshed out. I also feel as if I am just beginning to get the hang of working in wax, and I become more confident with each painting I make."
With this growing confidence, Hatleberg will soon wrap up his Bowdoin art career. He will have a show in the Kresge Basement tonight, which he hopes will make a statement both aesthetically and thematically.
"I believe the show will be the perfect culmination of my art at Bowdoin," he concluded. "I cannot wait to see what will come in the future."