I must emphasise that the painting remains floor based throughout. In this post written whilst creating the work (ie mid process - as are all the posts actually) - I want to consider the object. The brief described making objects for ten capsules. My objects are ten elements each containing a grid of 16 tiles, making a total of 160 square paintings with each element planned to be in a square grid on the floor or horizontal surface. This structure and format is largely to do with object rather than painting support. The ensuing issues of grid and organisation again imply an objective agenda. Painting as object; object as painting.
The progress is practice driven and in defining a conceptual start point, the actual outcome of each element object was of course unpredictable. In reviewing the 10 elements, and now with the task to remove each 160 painting tiles from the backing paper and arrange in a defined grid on the floor, removing the tiles from the backing would actually lose something from each of the objects. The way the paint has been applied to cover the sides of each tile has meant an over robust base colour around each and on the backing paper. Moreover, test marks and casual brush mark are around, as is the configuration of each element as it was painted. In other words, each tile is relational to the other on each element/object with regard to the painting process because the tiles are stuck down by the original base layer paint. Although each element has been worked on from all sides the tiles are and have been fixed on the backing paper from the outset. Therefore, I have resolved to leave each element on the rough backing paper and they will remain as wall based works.
