I have picked up this piece of work again as I am ready to move it forward. By taking photographs as I go along it will help to see areas that need working on.
Kathryn Raffell, 2015, Acrylic on canvas, 180cmx120cm.
To start with I see that the face needs reshaping and more shading and tone, at the moment it is very “flat”, and in the background I would like to suggest faint facial forms that might be a reflection of her face and the mask. Also the kimono dress has little shading or contour , shape isn’t quite right and the arm is too short.
After several days of working and re-working I am happier with these areas now.
Kathryn Raffell, 2015, Acrylic on canvas, close up of areas of the 180cmx120cm canvas.
I have been talking to two of my tutors as it still needs “something” (probably re-priming over the lot) as it is not ready to be included as it is. I would really want this painting as one of my degree show pieces so I have to push myself and this piece to the limit and not play it safe. I am thinking of sanding part of the paint away, almost back to canvas, and then re-paint as a different person. For instance, sand away part of the kimono and re-paint as a dress or, sand away part of the face and re-paint as someone else.
I am going to try this with another smaller canvas and see how it turns out. I know this is playing safe but I am thinking it is like making a maquette before starting work on the full size piece!
When I look at these quick sketches of faces made on the acetate sheet, I see that they are not like any of the other work I am painting. They are loose and quick observations which I don’t seem to be able to carry into the larger canvases. The canvases are more careful and studied applications of the paint, where every line has a purpose and has to contribute to the overall appearance of the whole composition, whereas these acetates are a freedom of sweeps and swirls, mark making that almost accidently represent forms. I didn’t have a composition in mind with these, they were just as the paint suggested the mixing and blending of the tones should be.
The size of the canvas seems to give a mind block as to the amount of free expression that I am allowing myself to express. I am setting rules for myself which don’t exist outside of me. Small rebellions against this are allowed on a small painting surface which can be easily discarded whereas a large canvas is not so easily hidden away without anyone seeing or judging.
In my dissertation I wrote about the change in style that happened to Lucian Freud. His early work was very detailed, using small brushes and mostly working on small canvases.
Lucian Freud, (1947), Girl with a Kitten, [ Oil on canvas], 41x30cm, Bequeathed by Simon Sainsbury 2006, to Tate Britain.
With the influence of his friend and fellow artist Francis Bacon, Freud was inspired to buy large hogs hair brushes that enabled him to apply paint in a way that gave expression of flesh in its rich texture and flow onto the surface and into the portraits he made from then on.
Lucian Freud, (2000/01), Her Majesty the Queen. [Oil on canvas], 23.5×15.2cm, Part of the Royal Collection
Note to self – loosen up! (I aspire to this thought everyday but think it will take some time to change).
I still haven’t used the roll of acetate sheet that I brought in so I have cut four pieces into 45cm squares and am going to experiment with quick sketches in acrylic paint and see how they look.
Kathryn Raffell, 2015, Untitled, Acrylic on acetate sheet, 45cm sq.
When I finished them I wondered how they would look if I rolled them and taped into tubes. They look strange, a kind of 360degree painting. I stood them next to each other and took a photo.
Kathryn Raffell, 2015, Untitled, Acrylic on acetate sheet, 45cm sq.
Where to go from here with this idea?
- I don’t think I want to paint bodies on acetate and roll them up although perhaps if I could make the tubes of the bodies a larger size it could be something to explore, maybe even stack them like a totem form.
- Another idea is to unroll them, tape them to the window (or a light source) and paint the darkest tones on this first and then overlay with another sheet and paint the mid tones.
Next I want to concentrate on the pink wrapped painting, working on getting the paint finish to imitate the ripped edges of paper and painting in the creases and shading on the paper itself. Both are challenging and call for fine detailing.
Kathryn Raffell, 2015, Untitled, Acrylic on Canvas, 40cmx50cm.
As I am painting this I am thinking of how I can add another layer to this and I am thinking of literally wrapping with parcel or masking tape. If I do this I will need to think about why, what am I trying to say? As yet I am not sure so I will put this to one side and move on.
One of first things I want to do is continue working on the second large canvas of the female figure holding a tribal mask. It will take a while to move forward with this. It’s still paint and step back and contemplate. I find that taking photographs as I go along allows a different view point as does focusing in on parts of the work, the face, mask or the background. Even different angles make for an interesting view!
Kathryn Raffell, 2015, Untitled, Acrylic on Canvas, 40x30cm part of larger canvas.
Kathryn Raffell, 2015, Untitled, Acrylic on Canvas, 120cmx180cm.
I like the way that as I am painting, it is suggesting the way I need to continue. Tutors tell me to “go for it”, so I am!I am working on the tones and colour of the mask, blending and darkening them. The background is suggesting to me that there should be a reflection, an almost faint mirroring or hint of further forms in the background.
