Go hard or go home.

I am currently in the process I making this painting.

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It is largely inspired by this bunch of (dead) flowers.

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I did a number of small paintings from the flowers.

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I rarely use bright colours or when I do it’s usually here and there or one or two, unlike these where I have used lots of different colours. I’m very excited about them, they’re a totally different direction. I have been described as an ‘around the edge’ painter but these are unashamedly in the middle and I am very happy with how they have turned out. I shall try get my hands on more flowers!

Underpainting.

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I am really happy with this, I feel it has a little way to go but not too far. I experimented with some varnish on this the pairing below and I am so very pleased with how it has turned out. It isn’t artist varnish though, just some fence varnish from Wilkinsons.. Only the best.

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And I purchased some pre-made/pre-primed canvases and Gesso from The Works, again I’m really splashing out, but they are just for experimenting on. I’m going to try out some tonal underpainting as I rarely use super bright colours like hot pinks or bright reds. So far I’ve been trying to get back into the swing of using acrylic again but it’s proving a struggle as it just doesn’t move the same way as oil does, but I’m getting there!

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Going to channel my inner Turner.

Research.

I have been looking at the work of Zebedee Jones

I like these because of the way the paint has dried, also they have been done on linen but you can’t tell that they have been done on linen, so they just look like objects of paint. I also enjoy how he has just used one colour as although the colours are flat they have dimension due to the texture of the paint. They also look like topographies, and have a lot of detail despite just being one colour, due to the tools he has used to apply the paint, there are ridges and lines and lumps and bumps.

I have also been looking at Jason Martin

 

This green one is excellent as it looks very tactile and the ridges and grooves give it movement and texture.

I like how the reflective quality of this substance gives this piece dimension and movement whilst it remains all one colour. I love the texture of it too and how touchable it looks.

I love how this looks like hair and where the light hits it looks 3D, and how it is all one colour but dimension has been created simply by light.

Guerrilla

 

 

 

On the 1st of May this year, I took part in a walkabout art show which was a public march with participants carrying their artwork to the agreed destination. Myself and Sarah Ward collaborated and created a series of small paintings done on slate tiles, with the theme of the work simply being about paint. For me it was a chance to explore paint as an object and using these slate tiles that were already cut to a certain size meant that there was a sense of uniformity, and of mass production which would, in theory, reduce the feeling that each tile was meant to be ‘of’ something and more about the tile/paint as an object.20130501-113242.jpg

 

There is no rhyme or reason to the colours I chose here, other than they were the colours we had left and had a lot of. The way in which I made these was very simple, I just dipped the slate into the paint then pulled it out and waited for it to dry and then dipped it back in and so on. After doing this white one below, I thought it was better to have some of the tile showing through so that the viewer was aware that it was a tile they were looking at rather than a white painting.20130501-113317.jpg20130501-113326.jpg

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I tried to make the paint as textured as possible by using brushes to apply the paint, I think using one or two colours was effective at showing the movement of paint and how it mixes and dries, as the black and white one hasn’t been properly mixed together to create grey, it is still streaky and that gives a lot of dimension and interest. Using just one colour however, shows the nature of paint better as it is one flat colour and you can see the peaks and falls of the paint.20130501-113353.jpg

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For this black one above I was interested in the different finishes of paint, so I used both acrylic and matte paint to create a two tone effect.20130501-113419.jpg

For this one above, I used blue and gold as they are more or less complimentary, and i worked with the transparency of the gold rather than trying to make it opaque I left it transparent so that the layers beneath could be seen, giving it more dimension.20130501-113412.jpg20130501-113346.jpg20130501-113431.jpg20130501-113439.jpg20130501-113426.jpg20130501-113451.jpg20130501-113457.jpg

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I enjoy the way the colours sit on top of each other and how the layers beneath the top one allow the colour of the slate to show through, it also shows how build able paint is by the colours building up in intensity. the brush strokes also give a sense of movement and activity. 20130501-113525.jpg

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The white pink and blue piece above was an experiment of adding pops of colour into the white paint and pressing the slate into the paint rather than putting the paint onto the slate and seeing how the colours merged and what texture it left behind.20130501-113543.jpg

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Dust sheet

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I bought a huge dust sheet which was something like 11 ft by 9 ft and pinned it up, but there was a multitude of problems with it. Firstly, the material is see-through and very finely woven so its got lots of little holes in. Secondly, it stretches far too much which meant that I managed to tear it in places and thirdly it is too long for the wall and I am too short to reach any higher so that meant it dangled below the skirting board.

Priming it was an ordeal as well as I had to put a sheet of plastic up first because I used gloss paint to prime with, and because of the thinness of the material it meant that the gloss paint would have seeped through on to the matte wall had I not used the plastic sheeting, ruining the wall for the 3rd year that used that space for the degree show. Added to that was the fact that the plastic wasn’t stretched enough as the staples ripped through the plastic when i tried to stretch the opposite side, which meant it wasn’t taut through the middle which resulted in the sheet bubbling and leaving a giraffe print of air bubbles on the material.

To fix this i pulled three quarters of the dust sheet from the wall, and left it hanging to dry for a day or two, which left it looking more like a wall hanging, which actually helped me to understand my work better, as after a talk with Peter he suggested I work with the transparency of the dust sheet, as that is the nature of the material instead of trying to make it do something it can’t. Which is something I have taken on board as I did stop trying to make it work like a piece of canvas that had a denser weave and trying to make it water resistant as I usually do, instead working with the delicacy of the dust sheet.

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Not using a stretcher for my work was initially a money issue, as I simply couldn’t afford to make large stretchers, but in doing this I realised that what I do like about just hanging a canvas on a wall is that it takes away the need to hide the canvas edges, and what I mean by that is, in my opinion, usually a painting is considered an illusion because you are turning a piece of canvas into a picture of something, be it a portrait or a landscape, and that is what it is: a landscape. However, when the stretcher is removed and the raw canvas edge is visible the viewer is acutely aware that the thing they are looking at is not just a painting but a piece of fabric. And after seeing Jim Shaw’s paintings in The Rinse Cycle and being able to see the transparency of his work and the movement the work had as a piece of muslin cloth and not just a painting of trees I realised that this is what I wanted to create. The aspect of how the viewer interacts with it struck me as well, as due to the large size of Shaw’s work you had to move around it since it was hung in the middle of the room and it had a presence there. Whereas a painting is typically hung on a wall and is off to the side and gets in no ones way.

The way in which large scale work is made is of interest, because of my relation to the canvas I have to make big bodily movements in order to paint and create shapes, and that to me creates a dialogue. There is a personal touch to making big work as opposed to smaller work due to the amount of movement needed to fill a huge canvas, more of a connection because you have to completely get involved with the making of it.

In my opinion my work is moving away from simply being paintings of something, to being more installation based and more about the paint and about the material I am using, rather than trying to paint a pretty picture. I want my work to be more robust and more of an object, although I am still interested in colour and abstract paintings and how certain colours work together, I am definitely more interested in painting as an object, of paint as an object.

Research.

Antonio Olmos Lopez

– i like the transparency, layers, colours, textures, its done on paper, mixed media. start using salt? or sand, or something.

Ruth Jensen McGrath

– enjoyable colours, layers of colour, interesting marks and brushstrokes, its exciting, i like it.

William Kroll

– i like the marbling effect of the yellow and white on the red/brown, like the contrasting colours like blue and yellow, lots going on.

Jim Bobick

– interesting, not colours I’d go for usually – green mainly, its very calming, I’m not too sure about its obvious landscape qualities because then it resembles too much of a real thing but its still nice.

Jackie Tileston

– looks like my work in terms of composition possibly, dribbles, cloudy bits, blendy bits, there are details in foreground, smooth background