In preparation for our Degree Show, I have been planning my biggest painting yet.It is not the likes of Picasso’s Guernica or the unbelievable scale of David Hockney’s new work (exhibited at the Royal Academy at this very moment).But it will be an 8ft by 8ft painting, four times bigger than what I’ve been working on lately. It will require a quadruple amount of time, four times more paint, and four times the amount of detail. As the scale gets bigger the detail also expands in quantity. I think that in order for the detail in the work to be significant, it will need a huge variation of scale, a balance between both extremes of the gigantic and the miniature.
Working in the workshop was great fun. I haven’t been in there in a while and missed the smell of the wood and the heavy mass of the tools.
There isn’t a system.
There is an eclectic crash of influences.
I find it hard to explain. When I’m there it is clear and I have no time to question it!. When I question it, it feels like when you are having the most amazing dream and you are waken up, then it is awfully difficult to get back to that dream no matter how hard you try to sleep back into it. How much you try to remember it. You will sleep again. But you will not be there anymore.
So I stopped questioning my automatic process and started questioning the outcome. Try and remember the traces. The path that I followed from beginning to end. Look at the multitude of marks and pick the odd ones out. Some of the marks are violent, some fragile, some impulsive, some have been covered up and sacrificed for the greater good. As I apply paint to board, I feel like the colors are alive, like they look at me and give me clues, clues of which other color they want to be with.
It takes me about three days to finish a piece. It takes me just as long to imagine, to fully observe and remember the routs that I took and choices that I made.
The body becomes a machine, that links the self to the outer-other-self. It turns my human into the Artist, this Artist has no genre I’m neither woman nor man, no race of specific individual value, not black and not white. This artist belongs in the geographical aspect of the painting. The painting is the world that evolved, the world that failed and got back up.
Painting
It will be right to say that I’m going round in circles, round and round. I get consumed by an intense sense of belonging. Continuity in ; colour, pattern and form. It is a continuous flow that allows faults, as it is necessary to be free from aesthetical barriers of perfection, for the piece evolves through a matter of time.
