Below is a snippet of my previous work to give a brief overview of my ongoing practice. Image 1 is one of my first paintings as a fully abstract painter, led only by process. I was finding my feet a bit in the world of abstraction, and beginning to develop my understanding of painting itself. From then on my practice has been process-led. I am interested in materials, colour, texture and how I can layer all of these aspects to create an interesting painting. The drips going either way in this image also begins to question process and time. Image 2 shows the first piece I ever worked on mirror, I loved the final effect of this, showing not too much mirror that it is obvious, creates a wow factor when studying the piece further. The use of the mirror begins to introduce a further dimension to my work, where the viewer instantly becomes part of the work. Image 3 is one of my favourite pieces to date, the use of a circle presents a different base for my painting, introducing new ideas to my work. I also find there is a lot of depth to this piece and interesting textures being created. Image 4 is on aluminium sheet. I kept so much of the material bare as this was such an important part of my work: materials and process. When the spectator is able to see the base material of the work this leads them to understand the process of the artist's hand. Image 5 is a close up of some of the new mark making I was using last unit (in comparison to previous units), this led to the development and learning of the style and marks I use today. Image 6 is another one of my favourite pieces. I primed the board with pink paint, I feel beginning a piece with a primer other than white begins an automatic layer and depth to the piece. I also like the way I had used duct tape to mask off areas of this piece. I used it on the right hand side to add a strong geometric interruption and on the left used it as a stencil to paint over then remove, creating another interruption, yet different from the first. The pop of pink duct tape also is unique and eye-catching. All of these pieces demonstrate the journey my practice has been on and how I have developed all of the skills and ideas that I use currently. There is an evident relationship between colour, texture and material which are ongoing key elements to my practice.
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Note: I am constantly working on different pieces at the same time. So that my blog is easier to read all photos of pieces have been kept together and ordered by piece, not by an actual timeline of when I was making the pieces. Some descriptions as to what I have done or what the ideas are may cross over.
Small Pieces
To start off this new unit, I decided to put a pause on my extra large boards and pick up an A3 cartidge paper pad to begin working smaller scale. I hoped this would teach me something different about painting than I am exploring while working large scale. To begin with I started with my familiar colour palette of pinks and purples as I was hoping to learn about the way I paint and what would make a 'good' painting before experimenting with colour. (as I discussed last unit, working in a familiar colour palette allows me to explore the medium rather than focusing on the colours I am using.) When I first started these small pieces I was finding it very difficult, and was really unhappy with most of my outcomes. I perservered and created more and more and more pieces, working simultaneously. I began to learn where to put marks to create an interesting dimension, what mark making techniques to use to create interesting layers, and what colours to use to make the work appealing.
As I began to get the hang of creating interesting pieces I thought people may actually buy these. I have lots of comments on my work that they love it but it is too big to put in most people's houses, these smaller pieces are a great in between and may be popular amongst friends and family and possibly the public. I looked into selling work, this has helped me develop my professional practice, and has begun to prepare me for life after university.
learn things about bigger piece
how each stroke matters
more concious about each stroke
Mini canvases
These canvases began with a thick black brushstroke in the centre of each piece. I mixed the black paint with fine pumice to give a thicker 3D effect. This worked really well and I have used it in many other pieces since. I then worked around these black marks with pink acrylic mixed with gloss paint. I have found mixing acrylic with gloss works as long as it is rubbed together well, when applying thick layers of each they do not mix. I then added a layer of deep purple to compliment the pink and the black, I applied this paint using a mini scraper to drag the paint, this left a rippling/snake skin effect.
The next layer was gold spray paint. I had been using this to create bulldog clips for my A3 cartirdge paper pieces and this gave me the idea to spray straight onto the work. I hoped the gold would contrast against the black, but it also emphasised the texture of the underlayers which gave a really interesting effect. Gold is a very symbolic colour, resembling wealth and importance. The glimmer of gold on these pieces adds a level of worth to these pieces, like the stereotype of a magpie collecting shiny objects.
My final layer was thin white drips of gloss paint, these appear as sketches or even signatures but most importantly create an extra layer of depth as their delicate and lightness contrasts the thick dark strokes of black paint. This was the final layer however the gold stands out as the final touch.
I am so pleased with the outcome of these pieces, there is an elegance to them with detail and precision mixed with bold gestural marks. I have managed to incorporate all of this on a small area which has helped me understand more about my marks on my larger pieces.
With all of my smaller pieces, they start as a sort of entity in the centre of the work, often some sort of thick, black mark. This gives the pieces a form, and people who have viewed my work often find figurative deptictions within in, possibly due to this resemblance to a form.
This is a piece of chipboard which I use as a backdrop for painting smaller works or for priming bigger works (see the straight horizontal lines across the work). I also use it as a pallette to discard any unwanted paint on the brush. As a result I have actually found that this works well as a piece in itself - a sort of record of the artists hand.
Mini Canvases
I started these grey canvases as I decided I wanted to test out my new skills in a different colour palette. I also thought greys and blues may appeal to a wider audience when it comes to selling my work. I created them using similar marks to my pink mini canvases as they worked particularly well.
I have started to sell all of my smaller works on my instagram page as this is where I have the most followers and access to friends and family who may wish to buy things. I love to use my instagram to keep up to date posts on what I am up to and the exciting new things I am creating. It is great to get a positive response from people, from friends to randomers to other artists around the world. It has become a sort of community for artists to share their ideas. I follow lots of abstract pages which are constantly inspiring me, however I have also found there is no one so far who works quite like I do, the way I paint is so far quite unique.
Experimental with canvas - manipulating surface
Some of my feedback from the previous unit was to be more experimental with bending, tearing, breaking, repairing and manipulating the surface I am working on. Here I tested out two canvases, one which I painted then tore into from the back to create a window-like effect. I liked how this alter the orthodox idea of painting. Bringing a new dimension to my work.
For my second experimental canvas I painted the back. Again, I was trying to distort the ordinary view of a painting. Out of the two canvases I preferred the one which I painted on the back of, I think the mark making is much better and I like the interruption of the solid baton running through the centre.
These pieces were made using just acrylic paints, although I am going to start experimenting with other materials in other pieces.
An idea Simon gave me was to create a sort of mood board from colour samples from a DIY store. I roughly sorted it by colour and this showed me a variety of different pink and purple shades that I could introduce to my colour scheme. Not only this, it also allows me to create other palettes to work from - helping me find complimentary and contrasting colours.
When going back to working large scale I found I had learnt lots of things from my smaller pieces at the beginning of this unit. With the smaller pieces I was being much more precious over each brushstroke as there were much fewer strokes required to fill the work. With often less than 10 marks on each piece, it felt like each brushstroke had to be perfect. This gave me a consideration for each mark, no matter how many marks there would be on the total piece. Rather than rushing into the piece, I was able to have more precision and a developed technique for each type of mark. The idea being that now, every single element of the piece worked - not just certain sections of it like it often used to.
I primed two circle 9mm MDF boards - one white and one black. My intention was to experiment with texture by keeping them all white and all black. I started with the white one, I experimented with contrasting gloss and household filler. The smooth, shiny, wetness of the gloss is heightened by the gritty, matte texture of the filler. While creating this piece I felt the urge to add colour. I had manipulated the base of the work using textures which changed the way the paint applied over it. The glossy areas resulted in allowing the paintbrush to move more freely, whereas it would get stuck in the grooves and ridges of the filler.
The colour palette I ended up with is a lot brighter than much of my previous work. This piece is eye-catching, vibrant and so much so that it could make you feel ill if you looked at it for too long. I am torn as to whether I like the vibrance or not.
I really wasn't happy with this piece so I continued to experiment on it with texture. I tried out a strip of mirror foil, iridescent paint, spray paint, glitter paint as well as many thick gel mediums.
texture experimenting
I also decided to add colour to the intended 'all back' piece. However, before doing so, I decided to mask out an area that I would not paint over. I decided to make this slightly over half as I wanted the black to be unusual and striking. I really enjoy working on black primed board. I find the paint applied on top is much bolder and more striking. After removing the tape separating the colour and the black, I filled in the black side entriely with gloss paint. The smooth, shininess of the gloss contrasted so well with the vibrant colour. I love the effect of cutting out a whole section of the work.
I found the black (before painting it with gloss) absorbed a lot of light compared to my other paintings I have primed white. The original black layer is interesting and creates an automatic depth to the piece. When I applied the black gloss I found the reflections of light created an immediate interruption in the work as the solid black is so consuming.
The positive space is the point of interest so in this case the colourful, gestural marks, the negative space is the black. The negative space here is larger than the positive space which is unorthodox, this is intriguing and entices the viewer not only to the work but to look even more closely at the positive space.
When testing out hanging this piece, I off set the line between the positive and negative space to a slight diagonal, this alters the viewers perception of the piece.
For my next idea I wanted to limit myself to a neutral tonal palette. I bought two canvases, picked out some neutral colour swatches as a guide and started to paint. I began, as always, with a gestural layer, which I then added to with gloss drips, thick brush strokes and dragging motions. I also added some gestural silver marks, these marks were particularly interesting as they blended into the piece until caught in the light and suddenly came alive. Subconciously I was using the same techniques that I had developed on my mini canvases, however I did not notice this until I had finished and photographed these pieces.
Just as these pieces were almost finsished, I actually found someone who wanted to purchase them. If I were to have not sold them I probably would have added a splash of pink to them such as some fluorescent duct tape as this would have made the piece very distinct and daring, nevertheless I am really happy with how they turned out. They are exciting and interesting, while keeping to a neutral colour palette, which I wasn't sure I would be able to do as I am very used to using bold colours.
My degree show proposal is for two canvases so these pieces have allowed me to start testing out the idea of a set of two and what they look like.
Inspired by the work I have created so far I submitted my degree show proposal. I intended to show two 1.5m square canvases which would be painted in an abstract, gestural manner in a colour palette of pinks and purples. I attached images of my previous work as a guide to the curation team of what I intend to create. As I described on my proposal, I never truly know what my work is going to look like. Often all I start with is some pink paint and some thick brushes and I see what I can create. My work so far this unit had followed on nicely from my previous unit, I was experimenting with more things such as colours, texture and this idea of 'cut outs' so that was the basis I was going on when writing my degree show proposal. I enjoyed working on circles but wanted to exhibit more than one piece, I did not think two circles next to each other would truly fit to my practice as they could almost become planet-like or have other representational links, therefore I decided on two square pieces. I wanted to work slightly bigger than usual, hence the size of 1.5m squares, and I wanted to work on canvas as I could manipulate it easier than board, making tears and distortions. I planned to make these canvases in the 3D workshop as I have previously taken workshops in canvas building and canvas stretching so feel I have reasonable knowledge in the area.
Following the black circle I painted, I continued this 'cut out' idea. I used two square 9mm MDF boards and traced around a circle for each. This time I made the circle's deliberately off centre, but only marginally as when completed I hoped they would create an awkward tension for the viewer as they were so almost central it was off-putting.
The first piece (Circle I) was blocked out around the edge, which I eventually filled in with a thick layer of white gloss. Aesthetically, this is my favourite piece out of the two as I find the layers work so well together. It is busy and exciting yet harmonic. However, I find Circle II more intruiging and unusual. The entire centre of the work is covered in white gloss and the idea of the majority of the canvas being blocked out in unique and provokes a conversation with the viewer about what is underneath.
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| Circle I [2017] |
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| Circle II [2017] |
Circle I
Circle II
I tested texture using modroc. I found it a really easy way to add immediate texture and height to the piece. I liked the contrast of the black and the white, however when I came to paint the modroc I didn't like the texture it was creating. It became too
This unit I have started working with bolder colours and mark making. I have also tested out the idea of negative space a lot and really like the effect it has on my work. I have also begun to test out
With old frames left around my studio I decided to paint them and try to introduce them in my work. The fluorescent lime green works really well against the pink in all of my works, it really shouldn't work but I feel this is why it does. I did not like the orange frame quite so much, I feel it was too bland and did not bring anything extra to the piece. The idea of a frame and what a frame means is an interesting subject that I want to explore further. Frames are often the part of a painting that is ignored, it is there to secure the painting and as a way to present it, rarely is a frame essential to the meaning of the painting itself. I can't remember what the last frame I saw in a gallery looked like, as I would have been too focused on the work itself. A frame often suggests importance, as if what is being framed is what you should be looking at. In my work, what is being framed changes the view of the piece all together.
Since discovering artist Rana Begum, I have become interested in the way my pieces respond to light and space. The entire gloss sections of my work reflect the surroundings, particularly when there are bright lights. My black primed work absorbs light much better than the white work which reflects the light. The reflective surfaces begin to bring the space into part of the work
Exhibition stuff
Myself and Amber used an empty project space to put up some recent work to take good quality photos for our reflective journals and our degree show publication. I also had some ideas I wanted to test out. See Reflective Jounral > Project Space Exhibitions
Collab with amber
Amber and I booked Project Space 4 in order to test out some ideas and take photos of our work in a white cube setting. This collaborative exhibition was also a good practice for curating our degree show install. For more info and pictures see Reflective Journal > Project Space Exhibitions
Degree show test:
Following these eccentric and bold pieces, and a tutorial with Simon, I decided my original degree show proposal of two 1.5m square canvases was not what I wanted to install anymore. I hope now to include as many pieces as I can in the space as my work is bold, crazy and almost sickly - which would be best represented by lots of pieces being crammed into one space. The work then becomes even more overwhelming.
During the collaborative exhibition with Amber I used the space to try and plan my degree show piece. I got the 3D workshop to cut me some pieces that match the size of the material I intend to get to be a cheaper way of testing before buying. This also tied in with our SG64 curation meeting, so I was able to present my revised idea to the group and they found it very exciting.
PS5 testing:
I have also been interested in the idea of installation art. This came about when first bringing frames into my work. I used project space 5 to start testing some ideas with frames and neon lights. See more at Reflective Journal > Exhibitions
This was one of my favourite pieces it is simple and elegant yet interesting. The frame acts as canvas but the folded paper and the bubble wrap bend around the frame making the viewer question the dimensions of the work. I wrapped the neon lights around the frame as the twisted and swirly nature of the lights contrasted against the rigid outline of both the frame and the paper. The shiny gold of the bubble wrap complimented the fluorescent pink beautifully.
These were some samples I ordered in preparation for my degree show pieces, one of which I intend to paint onto a mirrored surface.
I started with two white boards and inspired by Rauschenberg's recent exhibition at Tate, wanted to create two individual pieces on which I was replicating marks. They would appear (from afar) to be copies, however neither piece is a replica of the other, they were made simultaneously and with neither being less significant than the other.
Inspired by Factum I and Factum II by Robert Rauschenberg
All of this studio work has led to my final pieces for my degree show. Details of these pieces can be found in Reflective Journal > Degree Show Preparation. All of my degree show final work is inspired and informed by the things and skills I have learnt over the past unit and over the past three years. Every experiment with paint I have ever done has informed my practice and enabled me to develop my own unique style which I feel is now unmistakeable.
I feel I have built up a very strong body of studio work, all of which is clearly documented and reflected upon. Each piece has developed my skills with the aim of consolidating my skills in the form of creating pieces for my degree show. Throughout the unit I have tested mark making, experimented with colour palettes and practiced with (and on) different materials.
My work is about the process of painting, exploring paint through painting. I enjoy the characteristics of acrylic paint, in particular it's drying time but also the way it reacts with gloss paint to create an interesting texture. I like the viscosity of gloss paint, its thickness allows it to create a smooth drip down the work and also adds shine to the piece. My work is experimental and abstract, when stuck for ideas I try a new type of paint or a new surface such as spray paint, iridescent paint or mirrored perspex. Mixing things up always keeps my work fresh and exciting. I admit this unit I have focused less on each piece being completely different and focused more of working towards a finished product (my degree show piece) where my work is consolidated and the best it can be through previous rigorous testing. My gestural marks are suggestive of the physical movement the artist created. My works have a direct relationship back to the artist and rely on the viewer to explore each pieces process of creation. I also use dramatic dragging marks, previously inspired by that of Gerhard Richter. I have a reoccurring tonal palette of pinks and purples, using white and black to add texture and depth. Pinks and purples are positive and supposedly spiritual colours, therefore initiating a positive response to the work. Not only this but I find them the easiest colours to work with, I am instinctively able to harmonise them, unlike I am able to with other palettes. My work focuses on the process and materials, the colour and why I use them is not so important. Using these colours can be argued is a comfort zone of mine, but it allows me to explore paint thoroughly without being consciously worrying about colour. My work isn't about the unknown, but the exploration and a somewhat journey. I feel as I make more and more work I begin to learn more about paint. I feel there will become a time where I have explored every paint on every surface in every way and then my practice will either end or be complete.
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