Studio: 16th March

Today I set aside the day to work in my studio, to try and develop my ideas for a new body of work. Last weekend I took a large number of photos and during this week I have printed some of them and also selected some stills from video. This was my starting point today - I sorted the photos and selected some to work with...I wanted to experiment with compositions and drawing, as well as colour (although this aspect got lost as I started to evolve other ideas). The drawings below are in order and were completed quickly using, ink, nib, sharpies and pencil. The idea was to bring together figures from different shots to suggest some sort of dialogue or interaction.

Creates a sense of chasing - very similar to corn painting although unintentional. Like the cropping of the limbs (left figure). Some depth - not clear that figures are the same person.

Tried to create a sense of instability - one figure has pushed the other. Is it appropriate to blur limbs to record the movement or is this too close to photography? Quite like the loose brush ink work.

Individually I really liked these images but they seem too static together - it doesn't work that they are nearly the same height (an adaptation of mine not true to life). Many of the pics have arms outstretched horizontally which interrupts the composition.

Dip pen and ink - unstable figure works and hair adds to sense of movement. Added architectural structure to figure - has a flattening effect but could work if more integrated in the body.

I think this works as the figures seem to interact, maybe confront each other. Not sure about the masked faces as they are disengaged from the viewer - I like the gaze element...

Reused the figure from earlier and introduced another (these are stills from a film sequence). I'm really enjoying the instability where she looks like she is about to be blown over. The outstretched arm works in this context seeking balance.

Grid lines are to support composition - better with integrated house (from out of studio window). Animal reference.

Labyrinth 'Junk Lady'

Grayson Perry - from Tomb of the Unknown Craftsman

Really like the position of the figure but it got me thinking about environment and context (see notes)

Figures in original photo composition - falling not clear

Adjusted position of falling figure - now looks less dangerous, more like cradling...maybe something to do with the feet and leg position

Reflection
I found this process of ideas very useful in terms of evolving my ideas and trying to create compositions. It is very important that I explore the context of figures and make structural decisions before I paint as this created some technical issues in the previous unit. I need to investigate environments and make structures (I'm still thinking about nests and buildings), although I must be careful not to illustrate an idea. At this stage I still want to collect more film as these images have proved to be the most animated which is moving me towards my intention of creating less static images. The pairs of figures work when they are both moving. I have realised that I really don't understand how to create a convincing physical space within the painting, so I am going to explore perspective and foreground, mid and background to create more of a scape. I had forgotten until I started writing that I wanted to look at adaptation and camouflage so I am considering face paint and looking at animal features to integrate in the images.

One month reflection
On reflection, the drawings which seemed most successful at the time are still those which I am working with (in whole or in part). The figure with the building on her back has evolved from my Red Fox painting and I am now planning on using this to show a body-morphing, shape shifting, transient structure. Largely, I am more confident in my decisions about creating 3D space now that I have done some experimenting with colour and there is a sense of ambiguity I can create with the positioning of the figures - my original concerns about this are mostly resolved although I've not yet made any larger scale work.