I have been thinking about drawingness and how this relates to the work I am making. This can be through style, or referencing marks and illustration but it is something that I come back to, but never really stick with. Our drawing dialogue project should bring out some of the ideas I'm thinking about, and I hope that these will feed into my painting practice. Having said that, I have opened the oil bars and there is something extremely satisfying about working with a stick rather than brush and some of the marks are quite Peter Doig which pleases me!
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| Repainted face to make less vampy, know doesn't sit well with surface of rest of painting, need to glaze lighter colours over to loosen up |
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| Added drawing lines to edges of bank and suggested features on face - doesn't need to be as defined as foreground figure to create hierarchy of power |
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| Having difficulty incorporating reds into the foreground - blended some light pink into the water and warmer sienna shades into the earth |
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| Adding diagonal stroke to hand to suggest shadow - think the staining on the thighs works but perhaps shorts material is too pictorial? |
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| Redrafted configuration of face - not keen on the outlining but at this stage this works to introduce an expression indicating a sense of power struggle |
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| Reflection of surrounding colours on flesh - although this is soft and beautiful (my opinion!) the light balance means that it will need another darker glaze. Love the suggestion of the twisting plait:) |
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| Water and start of reflection - Doig inspired pink paint and sprinkled white pigment - this has proven to be very difficult to deal with in later glazes as it stays as raw pigment powder which contaminates the other glazes |
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| Chisel brush strokes to articulate edge - still gestural but also maintains structure |
Reflection
Fantastic first full day of the holidays - finally I have time to sit with my paintings and really work out how I am tackling the changes which seem to be happening. With the reflective group sessions still firmly in my mind, I am taking risks more confidently. It was a strange realization that I really have moved on so far since the first meeting in Barnsley - that the aesthetics and visuals that I valued so highly have be overtaken by my desire to depict an idea. I couldn't imagine how my work could change - and now, I am making conscious and unconscious decisions which demonstrate my change of mindset and values attributed to certain work characteristics. This is particularly evident on the faces of my figures of course (as these are the only part to compare to of course). I have lost the translucency in the face - this is largely due to the figure looking disconnected to the setting where I have applied more glazing, layering, under painting and wet on wet painting techniques. Although this doesn't look as 'attractive', the overall surface hangs better together and when I use my view finder technique to examine isolated elements, the paint itself is taking on a more refined and exciting quality.
One Month Reflection
Having now 'resolved' these pieces, this was a really important point in the process where I recognised that I had 'let go'. More confident, less static and having less fear of being judged for work not being 'right' has let me move further in my thinking and work this time. Pushing into this unknown area of making has moved my work in a different directions and has opened opportunities for me to explore over the next year for the final unit and MA show. I made what feels like a lot of a changes to the paintings after this entry. Having a limited time left to work, I really had to prioritize my time and address issues with the whole surface rather than smaller sections. This was good for me because I had to be very critical and objective to make smart painting decisions - definitely a skill I will need in the future.
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