… all but done…
Do I need a foreign colour? “Afore the Stoop” went in a slightly different direction than first thought. I think I had that quote by Helen Johnson still ringing in my ears about imagery possessing different surface qualities and being on different registers on the same picture plane.
The buzzard is still; hovering overhead while the still-life is in flux. Melting in on itself. To not just merge separate imagery on the one canvas but to treat them differently via technique. I’ve done this regularly in the past but never to this extent before and definitely not on this scale. There’s loads going on: blocked areas, melting, washes and burning/corroding of the surface for texture.
“Confessional” is a different beast altogether. It’s going to be a slower process - building up washes of colour, drawing elements back in followed by more washes until it comes to an end or a crossroads. So far so good. It’s not really a colliding of images. It’s the notion of what a negative of a pattern could do to another image.
Refreshing to see organisations opening doors. The model is being altered.
Kept hearing the shrieking of a buzzard every time I went to work on “Afore the Stoop”. When I looked it was perched on top of the tallest tree at the end of the lane and then glided off.
Some sketchbook work. Not a lot of time but that’s my fault.
Finished “ATS”. Still bits that annoy but for the sake of not destroying it entirely, I don’t mind the imperfections.
Help has been indispensable.
Still waiting on magazine.
Egon Shiele Documentary - transcending the idea of the body as beauty.
Belfast bound for curator talks but looking forward to visiting some galleries first.
Work is being used as an example to show other artists about finding your own voice. Chuffed.
…someone has been keeping an eye on my progress and that is something!
Another trip to Belfast for more galleries and then a Speed Curating event.
It has been a hectic but brilliant few days. Yesterday I called into Platform to see Gerard Carson’s “Submersible Extractions” and a solo show by Dryden Wilson. I followed this up by a quick look at the Barbara Hammer exhibition and Patrick Colhoun’s project space work in the Golden Thread Gallery. Then it was time for the speed curating event at Belfast Exposed.
… do research. What artists i admire….
…Strange. Nothing negative. Just nothing.
A lot of information. A real painter?
“In Defence of Representation” essay by Tristan Garcia.
In western philosophy the representational object is either a copy, a sign or a duplex.
“… according to the semiotic model, there is no representation without signification, that is to say without interpretation.” - Tristan Garcia
“Visual Pleasure and Narrative Cinema” - Screen (1973)
“The Victim” - Saul Bellow
Tried sketchbook work - failed miserably.
Projection onto fog screen.
Line of connection between viewer and work - GO’H
Ask the question: what do you see?
Yesterday I eventually got painting around lunchtime - back and forth with ‘Confessional’ but progress made. Great talk with GO’H about ‘the gaze’.
Need to select paintings for Framewerk Christmas show.
“What you’re interested in in the world will feed back into what you are interested in as an artist.” - Alison Pilkington
…speaking about dreams, a quote from Alison Pilkington’s drawing seminar from the RHA really stuck out. I’m paraphrasing here but the guts of it is this: talking to people about why you make the work you do (or about your inspirations for that matter) is like talking to people about your dreams. People aren’t overly interested when someone else describes a dream. It’s subjective and personal and it’s all but impossible to get the experience across properly.
A difficult few weeks to come.