Conflict Resolution Nō 53 and other stuff.
Getting lost and finding out along the way.
There is something magical when immersed in the act of painting, that of being in the moment, the absolute joy in discovering a shape, mark or colour that begins to transform the blank canvas; an unexplainable symbiosis that is very much an interior sensation, witnessing the flow of wet paint, never completely sure about the final outcome. I have no issue in watching paint dry!Of course, the next phase presents a whole new ball game. How to maintain the immediacy without overworking, without overthinking and ultimately, without fear of getting lost. Accepting the unexpected is for me, part of the process in developing the work. This means it is in a continuous state of flux and this means continuous reassessment of the work and also, of me. Just exactly why am I making these images? What is the point? How valid is process led work?
And .... why do I keep insisting on asking questions? My head hurts!
The work continues:
As usual all canvasses are started laid out on the studio floor, where creases dictate the initial point of contact. Colour choice random. Once the first mark is made, the conversation begins. There usually follows a pattern of doing so much, leaving the studio and on return responding immediately to the inner voice. At this stage there is no right way up, the painting is worked from all directions, I still like the idea of the image dictating how it is eventually viewed.
Last Monument Standing |
Embroidering a new landscape |
Conflict Resolution Nō 53 |
Cruciform |
Consumerist Ideology |
The Fall of Palmyra |
Polaris - Big Cock in a boat
The etchings continue to explore the theme of constant editing and the reality of the past remaining in the present.
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105 cm x 105 cm |
Find the etching more poignant and the paintings, the forlorn shapes in ambiguous spaces. By its very nature, etching is a very difficult process to painting. I wonder whether that timeframe differences, between these two processes is dictating the dialogue with the work? In that the act of reacting to a line, colour or mark is that much quicker in painting.
ReplyDeleteDoes the process of reacting to the creases in the canvas always be the starting point? Could connections be made between the etchings and canvases? Possibly photographing and project the lines from the etching onto a canvas and therefore making connect between these two bodies of works?