The page has posts relating to general comments about the work in this term (3). Aims, ruminations and reflective reportage. 06/01/23 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… Continue reading 3S2 Painting & the art of projecting oneself into a future.
Nocturnes On the advice of the painting tutor at Norfolk Painting School, I’ve made a couple of studies of paintings that I find interesting. The aim of these is to learn processes and techniques to inform my practice. Often such work can add additional forking paths to one’s practice-garden. The first choice was a Corot,… Continue reading S2: After the masters
Following on from the work using techniques developed by Joan Eardley, I attended a workshop also focused on abstraction this time around the work of Peter Lanyon. This follow-on took up my renewed enthusiasm for a more expressive use of paint as well as focusing more intently on composition. A few points of learning and… Continue reading S2: Abstraction & folk horror
Completed work in this element of the chair series/nocturnes, using a limited colour palette. These images are now framed and will be exhibited at Christmas Krowji Open Studios. I like the sense of a ‘stage’ that emerged from these and the third image’s suggestion that a door is opening off-scene and suggesting space and, importantly,… Continue reading Sprint 1: Work in progress
Andrew Graham-Dixon’s talk (20/10/21) on Turner pivoted on three ideas: an obsession with light, finding a new visual mode ‘grand narrative’ in painting that differed from Rennaissance mythic depictions, and that his work was instrumental to modern notions of the artist as expressive ‘auteur’. It was his mix of romantic engagement – light, vortex, extreme… Continue reading S1: Turner’s Light
I’ve been playing around with placing domestic chairs in different landscape contexts. I’ve been collecting dolls’ house chairs (junk shop buys etc) and using these as references to insert into paintings of the Cornish landscape. Conceptually, this accords with the recent ‘inside-outside’ theme, dissolving boundaries between inside (home) and outside spaces as part of a… Continue reading S2: still life landscape
In the Witch House representation and material face each other in dramatic stand-off. Material is assaulted by representation’s desire to cancel it out in the silky seamless glamour of illusionism. Material has nonetheless its own defence through its insistent tactile presence. In the Witch House intention is drowned out by the roar of cosmic winds.… Continue reading S1: In the witch house
•Folk Horror is a mise-en-scene deployed by games as means of critiquing the normative, the pastoral and the familiar; •Folk Horror’s staples are sacrifice, ritual, myth and horror, deployed in various ways to unsettle and deploys an urban viewpoint to other the rural, its people and its landscapes. •Deployment of magical thinking. Lineage goes well… Continue reading Intro: What’s folk horror?
Folk Horror is often a form of arboreal myth-making, where the trees become a barrier that curtails sightlines; working against Rennaissance perspective. Folk Horror landscapes are sentient and agentic. Trees. Boundaries. Create visual and territorial barriersthat are purposed towards limiting human reach and agency. As in The Witch with its cold grey misty palette and… Continue reading S1: No Sightlines in Folk Horror