Part 2


Revisiting 'Interrogating the real.'

Working on my portfolio has made clear the areas of the course that I have really enjoyed, and that I have created some of the best work on. There's a particular page of my sketchbook that still has so many unanswered questions, therefore I decided to rework the ideas explored, using the yellow acetate strip and the original photograph of my grandparents as a starting point. I like how the yellow strip alters the colours wherever it is placed, the red blue and greens are all enhanced. Therefore I did a quick linear sketch seeing only the colours.


Portfolio preparation

I made a selection of work for my portfolio. It made me rethink the pieces I thought were strongest and what could be developed from my sketchbooks into more finalised pieces. 

however what was most useful was seeing how all of my pieces had a common thread despite being made with different approaches and materials. It gave me confidence to see a signature style as it often concerns me that I still haven't found a likeness between my work. I can now se that it is always present, it is just more subtle and speculative.

Struggling with a painting

A painting that I have been working on originally intended for Lauderdale house has been a frustrating process. I used fluorescent pink spray paint as a way to frame a small dark blurred painting, to enhance the remains or a bright orange under the many layers. This was a colour based strategy yet I also used it to evidently reshape the canvas. I was breaking the confines of the portrait canvas yet instead of my painting extending off the canvas, i was downsizing it to a smaller square, by using the pink.


Lauderdale house 1

I found the task of selecting a piece of work for Lauderdale house a difficult and confusing process.

If I had more time and knowledge of the task I would have printed out two large scale inked prints of my painting without paint. As this is was encompasses my current work and method. Instead I brought tw of my older paintings that were part of a series, as together they questioned what a painting is, while also showing my more ambitious scale and techniques.

The reality of paint day 2

Using the idea of turning the bi product, into the work itself, I took some left over concrete that had started to dry, discarded by someone in my group, and used it for the basis of my next piece. i painted this concrete lump bright red and then used a thick gloss to create a permanent wet looking effect. The concrete had completely changed and the original appearance was unrecognizable. I then went to the workshop and found leftover mirror acrylic which I cut and sanded down into a circular plate that my sculpture would be mounted onto. This further distanced the concrete from its original appearance , creating the illusion that the sculpture was suspended in thin air.


The reality of paint day 2


Crit from non artists


Day 6- Interrogating the real

Today was challenging, in an attempt to cover a hole in my canvas I added more glaze layers to intensify the other aspects of the painting to distract from it. In the end I'm really pleased with it, with links to gerhard Richter's blur yet with more vibrant colour contrasts between veridian green and crimson. The crit went well, I exhibited three of my paintings, the @through the keyhole style painting', the 'Crimson blurred painting' and the experimental black painting of the crimson blur in it's location. Attached in the portfolio section are the pieces. 


Day 4 Interrogating the real

Today was rather frustrating, Using a canvas board I had created in the workshop I started to paint, using a blurry green filtered photo, from the collection I had made, as the subject. However before Painting the green figures I wanted a completely matte background to work off, I wanted no brush strokes or shine, which was quite difficult to achieve. In the end I experimented with painting onto various surfaces to find what was best at achieving the matte effect I desired. Over the weekend I rework a large canvas I already have use as experimentation for Monday( and to see if working onto green is more appropriate for the painting.)


Day 2 of interrogating the real

I decided to bring in photos that both had a complementary colour palette and that had a relaxed social subject matter, to continue on what I had started on the first day. I did experimental sketches and manipulated the photograph through rephotographing with acetate partially or fully created a filter over the original image. This was to further distance the viewer and create some surreal results. It was one shape in particular that stood out, my granddads elbow was accidentally contorted in the photo and the effect made the elbow look like an indistinguishable body part. I will go home and continue to find similarities to this to show that photography ( despite seeming factual) can often misrepresent the truth.


Day 1 of 2D specialism

I brought in two complete opposite images to be manipulated, one very staged and graphic; the other more natural and reflective of society and youth life. I did this so that I could explore the various techniques of cutting and scrunching and get completely different outcomes. The photo I was using of my friends had a soft pink palette that contrasted to the gritty reality of what was depicted in the picture, thus lending itself greatly to painting and colour observation as even the slightest accent off green or white stood out.

I  went to the workshop to find some scrap plastic as I wanted a smoother surface to work on to avoid going into too much detail, and to simply stick to the block colours of the photograph. I think the result is effective and in a small crit I could see that others responded well to the simplicity of the piece, and the hazy effect created by using such a smooth texture.


Revisiting 'Interrogating the real.'

What I also really liked about the original photographs were the grans warm delicate colours captured in the small hole created by the green acrylic sheeting. I had already made the thick through the keyhole painting, which I still think is very successful, yet the delicate colours in the original photo are lost. Therefore I used a minimal amount of oil paint with a green marker to create a more playful childlike painting that is more of a simple colour study, rather than being as questioning and bold as the original painting.


pink and blurred painting

When I came in the next day to continue working on the fluorescent pink painting I instinctively disliked the colour as instead of enhancing the bright orange, it detracted from it as there was too much pink. To solve this I ran a brush with a light mixture of greens on it so that only a bit of pink was showing through. Now that I liked the colours I still disliked the composition, and original scale of the painting. I simply detached the canvas away from the wooden constraints and started to play with the material itself as a 3d object. I picked out certain small sections of the painting I liked and then proceeded to cut them out using a scalpel. I then stuck these onto white wooden boards and used strips of bright yellow paint to play with the colour combinations. They became very interesting things, with something being slightly off about their appearance, yet still quite charming with how delicate and simple the wiggly shapes and lines are.

Lauderdale house part 2

In the end there wasn't enough space for both my paintings. a a result the tutors made the curatorial decision to exhibit the smaller black 'painting of a painting'. I agreed with this decision as on a white wall the painting was striking and the colour contrast with the white wall simply enhanced the green blue and black colours. It is also the stronger painting as its more playful and combats the normal conventions of a painting. However after I agreed, the painting was moved upstairs to the bright yellow wall. The Matt black on the yellow looked washed out and almost grey, the turquoise looked lime green. It was completely altered by the location, I pointed this out and it was eventually replaced by the larger pink painting.. This painting worked better on the yellow despite originally being weaker. Showing that location is key to a paintings success.

Painting without paint

I was lacking an idea and approach for todays task, so I completely focused on colour and this is always an essential part of a painting for me, due to my interest in how we perceive colours together. I went to the skip to find any colours and textures that appealed to me. I found this pale green foam that very much reminded me of the translucent delicate shadows seen at the Rachel whitehead exhibition ad also the colour that I originally wanted to use for my corner painting. Mixing this with exposed wooden blocks and yellow and pink textures I created a shelf of colour. To be seen from the side, the combination of three dimensions objects became 2d. The shapes looked like strips of paint and was probably my most successful and exciting outcome so far.

Painting with light

Using overhead projectors and slide projectors, I created work by manipulating film slides or by using transparent materials. This Tok a lot. of trial and error, I started off with a disposable film slide as I liked the purple appearing trees in the back of the photo. I wanted to turn the sky yellow yet this was more difficult to achieve than I thought. As this was a day project I quickly changed my entire approach and used the overhead projector with clingfilm and paint to create fossil like patterns that were simple and focused on colour and intensity. I then reused the bag from the corner painting project to create large water like paintings onto the walls, submersing everyone in an intense blue light. This lead to Isaac and I collaborating our two pieces s he was using physical liquid onto the projector. We filled the bag up with liquid and let the ink run over the projector, giving a moving image aspect to my still paintings. it became a moving painting.

Painting for a corner

Today didn't go exactly to plan. My original idea was to use the soft pale green that I saw in the shadows at the Rachel Whiteread exhibition and use it to create an illusion on a triangle canvas (where it would appear that the corner of the room has been shifted.) I faced a lot of technical difficulty like how the colour would transfer and how to disguise the dark shadows that were created by the canvas. I scrapped this idea. I then used clingfilm on a white triangle canvas to create these interesting marks, yet the result looked forced and a bit timid and sensitive for what should've been a spontaneous and aggressive action.

To combat this I wanted to create something that I couldn't control, like Lynda Benglis' paint pouring I wanted something that had an aggressive uncertainty. I filled a large clear bin bag with bright blue liquid and pinned it in the corner letting the fluid inside drip out to create a large marbled puddle on the floor. The piece was performative and the dried up paint trapped inside the bag was visually very pleasing, and i will definitely be reusing it for other projects.

The reality of paint day 3 and crit

Though pleased with my experimental sculptures, I lacked a piece that could be discussed thoroughly in the crit and was slightly intimidated  by the amount of work created in my group. Thinking about the many artists who have used instructions for others to create the work, and distance themselves from the piece, I embraced this performance aspect for a final painting. 'Please paint on me/ stick on me/ add to me/ whatever' was scrawled on top of a canvas board that I had been struggling with to create a painting for the project. I filmed majority of the additions to the board and honestly am very pleased with how the final appearance turned out. This is perhaps due to the mix media painting being very distanced from me and therefore its easier to appreciate rather than critic.


The reality of paint day 1

Robert Rymans interview was extremely useful to me, It allowed me to approach today with a new focus on the material, which I embraced as it removed any pressure to find deep and meaningful concepts. My approach was to use chance and bi products of traditional paintings as a way to truthfully create works that were completely focused on the medium,instead of having my aesthetic influencing the work. For example my first piece was using old cloth that I had used to clean my brushes, these were used way before this project, yet I always liked the colours and patterns accidentally merging on the material, and thought it perfectly answered my worries about my piece being influenced by my style. I wanted to cast the cloths in clear resin boxes, as that wold make them more permanent yet not distracting from the delicate nature. However I discovered quite quickly that this was completely out of my budget so I went to the skip and found metal wires that I used to enclose the cloth which I then precariously hung on the wall. This balance and fragility simply emphasized the colours of the cloth, not detracting from it.


Oil painting worksop

I found today fascinating, the history behind each pigment and the ways to grind it up with oil to create the paint, were all completely new to me. As I had already used glazing and a Richter blur in my large scale canvas I was aware of the techniques that were taught to us, however it was extremely useful to learn the more appropriate oils or glaze mediums to achieve the brushless glaze that I want fr future pieces, as well as how to speed up the drying times of the paint. I'm excited to start on Monday our new project of focusing only on the paint rather than the real, after learning this information.


The reality of paint day 1


Notes from Crit- The crit today was really interesting, I truly think the grotesque comments on the work was due to the effect of another piece that involved this classical music being played throughout. Its fascinating how music can change our perception


Day 5 interrogating the real

I had prepped the canvas before coming in today, with this green liquid acrylic that i had never used. I will definitely invest in more as I really enjoyed using it to create a toxic looking dripping background. The essay I had red called After medium specificity,linked quite nicely as my work started to draw resemblance to Gerhard Richter. This resemblance actually caused me to overthink my painting, I started to feel that my painting was a photograph that should not be the end product, it caused a cycle of painting my painting and then photographing this painting, in an attempt to find some satisfaction that I had reached an end goal. In the end I completely altered the canvas painting with a crimson glaze, ths was to shift the entire process to fine some of the spontaneity that I started with.


Day 3 interrogating the real

I created two complete opposite paintings using the strange hand filtered photographs. One was a portrait of my Grandam, the paint was thin and translucent capturing the grit naturally left on the board. The weathered surface lended itself greatly as it emphasised this nostalgic old effect of the original photograph, I focused on the colours having a warm tone with contrasting blue shadows. The other painting was a thick dense oil painting reflecting the organic obscure forms created by the circular viewfinder. It, for me was less successful as i think the photograph itself was interesting enough and didn't translate very well into a painting. I'm therefore going to focus on some of the other looser photographs to reference artist Wendelin Wohlgemuth


Visit to the Sophia contemporary gallery

At the Sophia contemporary Gallery, I saw a two room exhibition named, ‘Painting in the Digital age’, I found the exhibition through research online and was a little shocked by how specific it was to the project. With impressive paintings and prints seen on all sorts of surfaces, it was one acrylic on canvas painting by Josh Reames that stood out. What resonated with me was the use of just one medium, such a variety of textures and effects collaged into one painting to create an alluring and powerful effect, it was completely unlike the other paintings that I usually favour, yet his extensive manipulation of the one medium that I wanted to adopt for future projects. Though I admired his application I found that I favored the colour composition of the other paintings as they were more similar to the thought out palette of my painting( in particular the dye transfers onto polymesh by David Bradley. I'm going to further research his work as I enjoy the eerie quality created through colour and transparency, despite the seemingly delicate subject matter.



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