For this painting I had a warm up first – getting ridiculous marks out of the way on paper a bit.
Then I decided to carry on with the limiting of my palette and see how far I can take burnt sienna with white. I do find the addition of black useful to add wider tonal variation, but the way I have been applying it, it just overpowers everything else. So remove it until I control my use of it!
The previous painting “&scrawl” was done on raw canvas with water added to the paint.
The painting I’ve done today was done over an old painting in several stages and I am straight away finding that it’s much less free and feeling restricted by the stiffness of the surface. Not entirely sure why I am so against this now. (Will have a think about that).
So, now college has finshed for the term, I am without inside painting space and so for now the garden will have to do.
The photos I’ve put with this post were taken while the paint was wet. The dried canvas will be quite different because it is left outside out of necessity. Either this painting is done outside and left there to dry or not done at all. The choice between making work this way or not at all, no hesitation there then.
This painting was done in the same way as the one on the 11th, but I am sure the dried result will be quite different. I just had to do it as I want to see what the dried result will be – I didn’t get to see the one done on the 11th dry.
The painting I did today was too formulaic – the next one I do I will try to start without methods or gestures in mind.
I have when found painting and seeing what develops out of my gestures that I often come back to the gesture of writing in one way or another. In this painting it is particularly prominent.
The next image is small – A3 – and on paper.
I find working much larger gives me more freedom and room to manoeuvre. A small piece doesn’t get space to develop.
Catherine Wynne-Paton is a practicing visual artist whose work is informed by an interest in text resonant with particular places and people and is creator of The Lost Library which has appeared at The National Eisteddfod of Wales, Fringe Arts Bath, Deptford X Fringe, The Wrexham Open and MainSpring Arts. Wynne-Paton studied Fine Art at Hereford College of Arts, received the Meadow Arts graduate prize, was the first Print Shed artist in residence and received PEAK micro commission for new work. She is a founding director of Framework Herefordshire, set up in 2014 to support emerging artists through exhibitions, talks and opportunities for skills development. She has curated graduate exhibitions PaperFields in London and Hay-on-Wye. She sat on the Jury for the Hidden Gems grant scheme, delivered by Herefordshire’s a Great Place that brings together the arts, heritage, rural communities and the creative use of digital technology. She has an enduring interest in curating the work of, supporting and creating networks for artists working in rural and remote areas, which led into creating an archive of conversations she has with artists in written and videos formats.
