Thoughts

When I am working elements sometimes naturally occur, this is what makes painting exciting, an idea sparks off another, surprises can happen, happy accidents. I am realising I see the landscape as areas containing modes of activity that I can work with, the physical energy of matter in the landscape. In my search for meaning I am looking for order and randomness. I like the idea of creating a presence and not representing something through pictorial conventions. I think a presence requires a total reading of an image.

I generally work vertically or flat on a table. I can see the advantages of working on the floor as this enables you to walk around the work, it feels like stepping into the landscape.

In the studio

I have had a productive day in the studio, arranging, reflecting, adding and removing to develop the work further.IMG_0037

Oil paint on ceramic tile.

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Oil paint and graphite on paper.

I knocked back the vibrant colours with a thin glaze of zinc white to give a good ground to continue work on. The piece, top right, I prepared the ground with graphite powder to take to the shoreline along with other prepared papers to experience the natural elements. I have arranged them in this format to see how they work as a panelled piece. I think this is working but I would like to play around with the arrangement.

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Oil paint on aluminium.

I added a thin glaze of Sap Green to the French Ultramarine and Purple Lake it is beginning to allude to my subject.IMG_1505

Oil paint on plywood and burlap.

This is my first attempt of putting oil paint on burlap. It has gone on a bit patchy, the surface is rough and uneven and grabs the pigment. It is a thin glaze of Purple Lake. I will put another coat on when dry and see what happens. I think the plywood offsets the burlap well when placed together.

Studio Critique

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Oil paint on burlap, aluminium, plywood, driftwood, paper and canvas on a white wall.

The requirement was to present one completed work shown in the way it is intended to be seen.

What is it saying to the viewer? To understand what I am trying to communicate. How can we engage with it’s meaning? What is the physical nature of the work? Does this embody meaning?

The format of the critique was within 30 minutes the group of 5 students and a tutor would spend the first 5 minutes looking at the work considering the interior of the work and in what context does it fit into. The artist who made the work says nothing until the last 5 minutes of the session. This is to allow the work to speak for itself as if in a gallery situation, when the artist is not present to explain the work.

What I would like to achieve? A sense of place. The physical experience of my surroundings. My subject is of my own experiences. A memory of the elements of the sea and wind which are forever present.

I had a positive and informative feedback. Abstracted panels carefully placed together in a rectangle to create one landscape. An abstract way of depicting the landscape. Creating a feeling of fluidity, mediative, space and a calming. Water. The work is hung too low.

Putting the work in context, Sigmar Polke and his use of materials and ‘Ring of Saturn’ by WG Sebald generating different thoughts through walking.

It was a surreal experience sitting in a room observing people scrutinising your work but very rewarding.