Studio: 18th May

For the making day, I decided to work on my two new canvases as an extended period of time would allow me to address some of the under painting strategies and tonal challenges presented by these pieces. Having delicately under painted already, then having 'washed' colour over the surface, I wanted to sculpt the figures and clothing more distinctly while still maintaining softer, more subtle colour with slight variations rather than the blocks of colour I seem to arrive at when working on a larger scale. My original plan was to work on some drawings when I got to a point where they needed to dry but in the end decided to revisit some of the earlier paintings I started. This turned out to be a good strategy (in a sense I had no choice) and I had had sufficient time away from them to be more object and deal with colour, applying some of the techniques from the larger works.

Building up layers of colour to add pattern and contours to shorts plus further light and dark to vests

Detail showing slight softening of colours and how surface is beginning to be built up in washes/glazes

Added soft purple into hair to create brown and variation from light cast by overhanging trees

Applied broad horizontal stripes with chisel edged brush beginning to create wooden structure of pathway leading into the distance. I'm aware that this is not yet structured enough but I wanted to create light and dark areas as a base.

Images above and below show overall effect before adding definition to hair, face and additional branches. Love the colour balance - using redish tones in foreground draws the viewer's eye to the front where blue recedes into the background. Gradually glazing and layering is going to be important.

Used payne's grey and burnt umber to add dark definition to foreground figure - think this really works well to create depth. It won't be so black/white in later stages. Amelia said this reminded her of the wizard of oz:) not a link that I have made but very relevant in terms of my research.

Detail showing red glaze over shoes to draw eye to bottom right corner of canvas. I have also applied and glazed over red under painting to insert subtle red hues to push this area forwards.

Detail showing Payne's Grey - I love how this looks at the moment, the house is much more solid and seems to fuse better with the body by the use of similar tone and marks. I can carefully introduce orange and red glazes to the structure to keep this section in the foreground.

Beginning to glaze blue/grey over initial marks in the stream. This is more challenging than I thought it was going to be as the 'blue' is at the bottom of the canvas making it foreground but it also needs to be sunk below ground level and recede next to the seated figure.

After lunch addition of some rose madder to face to begin to create contours as the lack of form was beginning to distract from the emergence of this figure. She is beginning to remind me of one of the characters in the corn field painting, particularly the way her head hangs to the side.

I have added white block lines to the 'trees' and glazed ochre over the ground (not a great photo). This works much better as painting appears less graphic and colour is spread more evenly throughout image.

I used a similar technique on this piece and have drawn out the red socks by adding a cadmium glaze. This is the painting which had a red background wash which I really felt didn't work but now I think it's extraordinary how with a little more work, the red create a subtle binding background and the figure emerges quite strongly.

I didn't have much time to work on this one but have begun to add some burnt sienna to the ground and a milky blue wash to the background. This is going to be much trickier to deal with due to the lack of structure in the background - less convincing placement of figure than in the previous two.

Studio shot at end of making day session

Reflection
I would have spent the day in the studio regardless of the Making Day, however, as before I found this a really rewarding experience. Despite the inconvenience of not being able to access internet so having to travel backwards and forwards to engage with the group, having dialogue throughout the day was great. It wasn't a crit session but there was an element of critical feedback/observations which I found useful. The dedicated time also forced me to revisit the pieces I had abandoned for some time; this turned out to be really productive and positive which is not how I have been feeling about this work. We discussed how we could arrange making days similar to the paired crits we did last year, with a check in half way through the day. The key is to gain feedback and act on it immediately - so often the case is that we make something, reflect, leave it due to time constraints, then revisit when the freshness and urgency has gone. On the other hand, I realized that I have gone back to my preferred method of working which is to have multi surface sessions where I can work on any number of pieces which are in progress; this also allows for technical constraints like drying time which suits my practice well. I am going to pursue more paired making opportunities - this is also in my PPP which is being revisited so I need to consider how I am going to do this. I may need to invest in some internet access for my studio although I can sometimes find it a distraction. In terms of my practical progress, these pieces are in early stages but through application of my colour theory research I can already see how the colour balance is changing; it is a delicate process but hopefully I will achieve a more united surface. I can also see how my reading of Marina Warner has influenced these pieces and addresses my long standing interest in masquerade and oddity, but in a less literal way.

One Month Reflection
At this stage, my discovery of Marina Warner was pivotal as her themes and ideas feed into many of the concepts I have been struggling to articulate. I have now set up some paired making opportunities; we are planning more independent making days, Cat and I are going to start a drawing dialogue project to initiate collaborative work which could lead to exhibition, and I have a foot in the door of group making in the studios. I have decided not to invest in internet for the studio just yet, I still live close enough to go back and forth and realized that I can use this as a positive opportunity to work in smaller, additional surfaces (painting and drawing) which can be transported in my box of stuff. This will support my exploration of ideas while I am evolving the bigger pieces and waiting for them to dry. I realize looking at these that I have been 'avoiding' going back to the initial paintings which could feasibly be presented as finished work in September. Realistically, I will need to wait until August to do this if I am to balance them with Carnival, school exhibition and my other work.