Monochrome ‘active paint’.
I have been experimenting with combining black and white (and the tonal greys you get from mixing them) with other colours.
Will selecting my colour more sparingly communicate more intention?
I have been producing more thumbnails in response to my images and in preparation for my larger response which will be on canvas.
I painted oil paint on to primed canvas – it is the size of a postcard.
At the time it was away for me to project my immediate ideas and response to the imagery I had been collecting.
There are areas where the texture of the cardboard still come through the primer and this lends another dimension to the paint and so contributes to its dialogue with the viewer.
I painted this study along side ‘roughing’ up the background of my canvas. I am now interested to see how the two paintings will relate to one another.
There is a change in materials but the subject is the same.
Do two artworks have to be separate? Can they be curated in a way that they are two paintings but one artwork?
My small study on cardboard reminds me of Auerbach. There are areas of my paint which are so thick that they seem to be frozen in motion.
With lines that describe the lips there is a cloyed drip that appears on first glance to still be wet. This idea of the painting frozen in motion reminds me that it was (before it dried) a moving thing.
-Frozen moments brings me back to think of blog post 9 where I mentioned film stills and trapped flesh.
-I associate moving with things that are living and so for me it inhibits the painting with an element of living paint.
-Because of this the paint plays an active role in describing the subject to me.
Will I produce more scaled down paintings as part of my degree show ? Maybe on varying materials ?
