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.
I moved to a more spacious studio space today, the light is fantastic.
I have rearranged my work to reflect and consider how I am going to continue.
Graphite powder on paper left out in the landscape.
I have had a productive day in the studio, arranging, reflecting, adding and removing to develop the work further.
Oil paint on ceramic tile.
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.
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.
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.
I have been letting the materials suggest the surface for me by placing different surfaces together. Playing with sitting surfaces next to each.
To use the wall as my canvas to construct a dialogue between surfaces.
Oil paint on primed canvas and plywood.
Mixed media on paper next to oil paint on primed canvas.
I have learnt to make layers of glaze thin to begin with. This is what happens if the glaze is too thick. Prussian Blue oil paint on aluminium. But I can use this as it is a good ground to work on and layer up with more glazes.
When using a bought primed canvas do not size and gesso the surface as it will crack and the canvas becomes very taught. Just paint directly onto the canvas. On this large canvas I put a number of layers of a blue grey. Today I have put a thin white wash on to try and knock the colour back. I will add another wash when dry. I used a large brush and went against the grain for an even coat. I am going to add more layers of white glaze to then experiment with a Prussian Blue and Alizarin Crimson glaze. Keep following to see what happens.