I can feel I’m starting to free up, thinking about now and not the end result, enjoying experimenting for its own sake. Painting on paper for the first time in a long time, trying to keep things fresh and not overworking pieces. But if I’m honest it isn’t easy, I’m definitely out of my comfort zone, but that’s what I’m after.
I had a really enlightening tutorial with the inspirational Graham Crowley last week which I will not forget. Sixty minutes of intensive focused questions, advice and recommendations. Practical suggestions of how I can bridge the states of surrender and control, aiming for negotiation. Much needed art history references which I am researching in earnest, thank you Graham.
Currently priming 77 small square boards to experiment on … I may be some time.
Questions, questions, questions. I’ve concluded that controlling chaos is central to what I do. I pour and restrict paint over and over, creating chance then try and make some sense of it. Starting with a plan is usually too restrictive and thought out, but letting the paint have all the power is too much. I need to find the right precarious balance and harness it.
I find it comforting to be methodical when I’m questioning everything, so have spent lots of time sawing wood, making stretchers and preparing canvases. Although it’s a laborious process I find it cathartic and a good space to think.
It signifies new beginnings…
Well, it’s been a very informative couple of weeks. I had a 1-2-1 session with Cathy Lomax, organised by Blue Monkey Network which was really insightful, looking at my overall practice. Plus an inspiring first mentoring session with Rosalind Davis in which we delved into the nitty gritty of what and why. I am now playing around with lots of words we came up with to sum up my work, aiming to produce a much more personal and specific statement. It also became clear that I need to step up my game in terms of images too. My paintings are very reflective so I spend time trying to minimise that in photographs, but by doing that I’ve lost some of their uniqueness. I think details of paintings showing their surface is the way to go, here’s an initial attempt:
It’s been a great experience so far, to spend time on professional development, thanks so much a-n. In that vein, I need to get back to the words…
My first mentoring session is booked for next week and it’s certainly making me think. It’s making me consider all possibilities, be less dismissive and try to be more objective.
Some of my recent paintings came about after working on top of lots of prior paintings that didn’t work, but left their mark in terms of a canvas full of lumps and bumps. This uneven surface contributed a great deal to the success of the final paintings. Except of course it’s never that easy to deliberately recreate an accident. I’ve been doing lots of experimenting with canvases full of paint then tilting, drying, reapplying, tilting etc. Often the paint runs off, sometimes it leaves its mark and occasionally something unexpected happens, like this
Paint that’s created its own shape and form, maybe that’s something I should explore more…
