The page has posts relating to general comments about the work in this term (3). Aims, ruminations and reflective reportage.
This blog entry focuses on painting development over Study Block 3. I aim here to be more experimental in my approach. The theme for this study block is ‘aesthetics of emergence’. How can I use it in creative and expansive ways? Where will it take the work? How can it be used to interpret folk horror?
How is it that everything always seems to be a beginning? This seems on the surface to be a thing of anxiety, however considering this pervasive sense more closely reveals something more positive…while anxiety is part of this, it is also instrumental to project oneself into the future. As 2023 dawns on us, with all those looming problems of, and arising from, ecology and economy, that sense of beginning is important – without it, all that remains is an un-ecstatic, heavy-footed stasis. So in the spirit of yet another beginning, a reiteration of intentions regarding painting!
Who sits at my side in terms of painting for this new phase of work? I’ve hovered around this question so many times. But now, with a bundle of sheds strewn around the studio floor, who am I looking to for inspiration and aspiration? Not the tonalists so much useful as that research was and even though their skies speak volumes, I come back to three artists who marry figurative, a sense of velvety depth (through glazing), and ingenious mark making: Velasquez, Rembrandt & Nedrum. There is a realism to their figurations, but also a sense of releasing something explosive in the paint itself, rather than marshalling it into a neat and tidy polished surface (Wyeth, Holbein). A present I seem to have separate work that is the former (often with the more illustrative work) or the latter, but rarely do they appear in the same camp.
But where are my contemporary sources in painting? Kiki Smith in terms of creative making, but in terms of painting? To help free up and make more emergent, I’m looking at the work of a) Rex Whistler and b) David Tress. It is therefore my intention to bring these to bear on my current shed work but also to the painting-based figure work that I intend to start in a couple of weeks.
As an emblem of where I am going with this..this particular shed seems to herald a shift; one of the many exploratory sheds of late. This shed has a ‘right’ atmosphere suited to my Folk Horror theme, and was made in layers to achieve depth but still looks spontaneous, however. Now, do I then replicate the technique with other sheds…or is it just something that emerges…will the work that comes from that just feel like mechanical copies? We’ll see…
15/01/23 Some activities in train regarding self-promotion, and reaching audiences. Entered competitions (RA Summer & Jacksons’ Prize), entered for St Ives Society of Artists, and also applied for Open Studios for June. Heard back from SISA – over 60 artists entered for 5 places, I wasn’t one of them – it was an outside chance. I put in 6 pieces of work that were perhaps too quirky or not really related to one another. Feedback will be sought to help any subsequent entries. All this being judged! never comfortable. My defensive stance is that these things are a bit like roulette, particularly when a committee is involved. When it comes down to it, it’s just you and the material you working with 🙂