Oil Paintings part 2/3 2021 #returntoconsciousness

This post features the early stages of the larger paintings of 2021. The painting above was started in late 2020 and rested in the studio until the following summer when further concluding paint was applied. The other larger canvases were made and started in May working through until September. I wanted once again to work on large paintings (above 1.25 metre approximately), the first large painting for six years. In doing this some of the process features of current work like gesture and physical mark can be explored to a fuller extent as the arm can move through a full arc and the record of such physicality reflected in the painted application. 

Following along with this painting I began a new canvas (centred below). Thematically, thinking behind these paintings were the experience of pre-Covid travel, particularly in this case, Indonesia. There is no descriptive element in these works, more a reflection on the absorption of place, difference and space. Space in the sense of altered horizons and meanings. Illusion, if any, develops out of the process only and with no other preconceived idea, plan or concept. This is because when painting I go into a place where thought is arrested.

On gesture from previous blog post Oil Paintings part 1:

The kind of gesture I am concerned with is fluid spontaneous and fleeting. The movement is instinctive and unconscious; whilst making ones thinking is deliberately abstracted so that intention is absent and response is unguided in a cerebral way. The state is somewhere else. Getting to this point or place takes a little time and concentration, not just within a day but over the time of making, a week or two. It is definitely the studio thing; concentration to the point of transcendence, if that does not sound too pompous! But, to focus on the specific. What of gesture? It is a recording of the mind in motion. Certainly more to do with movement, process and journey rather than end point or product. It is possibly something akin to Zuihitsu, the Japanese method of writing that translates loosely as 'following the brush'.  Another correlation with Zuihitsu is the element of fragmentation. Areas of colour are brought together as if by accident, parts are relating through juxtaposition rather than by design. As ever, the image is made only by a process that has no defined outcome. The element of gesture applies to many artists, Saura and de Kooning for example. However, with Saura and de Kooning there is a figurative cohesion; the gesture is part of the construction of a subject (a figure).  My stance however is that the mark itself is the both the subject and the image.

I have increased the fluidity of the paint using mediums like linseed oil, pure turpentine, shellsol, Jacksons gloss medium and glaze medium. Toxic fumes forced abandonment of the studio for several days until I sourced a protective breathing mask that I now wear every time applying paint. In such a large studio space the issue of ventilation would perhaps not be a problem but it is, probably because of the close proximity to materials when painting. Latex gloves are worn for oil and acrylic painting. 

Two new canvases were stretched from paintings made in the 1990s. I could not recall the dimension of these but the old paintings were removed and rolled. I am working through all my old large canvas stretchers and recycling these to make new work. It is such a good way to work. As usual 9oz cotton duck is stretched with three coats of rabbit skin glue and a thin oil based undercoat for all my oil paintings.  

Painting remains almost exclusively floor based. This is largely practical enabling the application of paint from brush to begin before the brush touches the canvas and indeed in many cases the brush does not touch the canvas. In these next two canvases, large areas of colour are applied to activate the pictorial environment and begin the process of making the painting. Like territories of colour, applied flat on the floor; areas of colour that interact. That interaction initiates responses through colour, paint, and brush. 

Reflective statement on #returntoconsciousness

 

Recent work over the past 18 months has been studio based and reflective of the international placements of the preceding 24 months. Taking as a point of reference, Jean Dubuffet’s notion of non-place (1), my practice has evolved through a parallel questioning of objectivity with a methodology using multiple 2D media exploring memory and experience of place. With diffused imagery there is an interrogation of reality, with dense clustering of line, shape and colour, intersecting graffiti like gestures and marks. Rhythm and repetition, spontaneity and design are all features of current drawings and paintings, an exploration of alternative reality. 

 

(1) Barbican Art Gallery. Jean Dubuffet: Brutal Beauty current main exhibition May 2021

'60 Days of Lockdown' A4 Luxelakes Art Museum, Chengdu, Sichuan

In February 2022, the catalogue for the show arrived documenting the 2020 lockdown project. 

 

Catalogue launch 21.12.21 .. 60 Days of Lockdown 2020 .. 

79 artists from 23 countries 

A4 Luxelakes Art Museum Chengdu Sichuan

The catalogue was edited really well for my project and screenshot the most important aspect of the film, location, place and studio ..

Project Channel

Faberllull Olot Residència, Olot, La Garrotxa, Girona, Catalunya 2021

Faberlull Olot is an intensive residency for arts, sciences and humanities,  based in the city of Olot in the volcanic region of La Garrotxa. Managed by the Institut Ramon Llull in collaboration with Olot's town council, Faberlullu enables writers, poets and creative thinkers in a wide range of disciplines to come together to share political, social and cultural exchange whilst working on a project. I was invited to attend in November with fellow participants Jordi Casanovas (Catalunia, playwright); Julia Forrest (USA, photographic artist); Erga Netz (Netherlands, television producer); Katarzyna Jarosz (Poland, linguist) Odai Al Zoubi (Syria, writer); James Kelly (Scotland, writer); Kateryna Bortsova (Ukraine, artist); Eleanor Stanford (USA, poet); Sandra Santos (Portugal, poet) and Sisir Devkota (Nepal, artist) (group photo below). We found connections through discussions on excursions, walks and at communal meal times, working individually on projects during the day. At all times we were based at Hotel Riu Fluvià on the outskirts of the city.

I was able to find a good place to work in part of the restaurant, not used in the winter. This had a panoramic view of the volcanic mountains that Olot is situated in. Using dry media I started a series of drawings based on a particular place in the old city, Plaça Clara, that had a presence, something to do with history, time and stillness; maybe a kind permanence. Frequent excursions into the city on the bike and foot, meant I could draw on site and return to the studio space in the afternoon when the sun had warmed the glass space.

Chalk, Conte 55 x 72 cm

Plaça  Clara. Collection Faberlull, Catalunia. Chalk, Conte 55 x 72 cm 2021

Placa Clara, Olot

I guess on reflection working in the glass space almost outside and close to the volcanic geology of the place that through visual interpretation of the changing light configurations on the mountains something of the place permeated the feeling behind the drawing process. 

details

Blending the coloured chalks, fixing the surface and replay drawing progressed the image. I relished integrating the pigments, almost dust into the paper surface (cartridge paper bought in Olot) then retracing a sharper line across the surface. 

Following from monochrome (white to deep grey chalks) and coloured chalks, I moved to oil pastels in the final stages of the residency. 

oil pastels 55 x 72 cm 

details

Faberlull organised a visit to Besalu, Castellfolit de la Roca and Post Medieval del riu Llierca. We had many self organised walks and excursions around Olot. (Further Besalu and Olot photos are here)

Sisir Devkota (Nepal, artist);.Julia Forrest (USA, artist)

Katarzyna Jarosz (Poland, linguist); Eleanor Stanford (USA, poet); Odai Al Zoubi (Syria, writer); James Kelly (Scotland, writer). Conversations at Pont Medieval de Llierca

Faberlull had three well equipped bikes available for use; here in Olot.

Katarzyna Jarosz (Poland, linguist); Eleanor Stanford (USA, poet); Odai Al Zoubi (Syria, writer); James Kelly (Scotland, writer); Kateryna Bortsova (Ukraine, artist); Andrew Smith (Wales, artist); Sisir Devkota (Nepal, artist);.Julia Forrest (USA, artist)

Reflective Statement for Faberlull website:

Exploring Olot: Colour and Line. 

 

My stay at Faberlull, Olot has been remarkably productive. Using dry art materials for drawing including chalks, pastels and oil pastels I have made eight colour works based on my experience of moving around the city on foot and bicycle. The atmosphere of Placa Clara was particularly striking as I felt an enclosed protective environment that I imagine would be shady and protective in hot summer months and at this time of year, November, was an encompassing and warm place to be. On location I made sketch book drawings and from these and photographs, I was able to create works responding to my impressions, also reflecting on the early winter light that penetrated the glass space of the outside restaurant that was kindly made available as a working space for my residency. 

 

The conversations with my eleven residency peer group was particularly enriching as this was the first residency where I have worked alongside writers, producers, poets and translators and the diversification of issue based conversation expanded horizons. 

 

The residency and support was excellent. For visual art there is so much potential in the rich geographic and cultural location of La Garrotxa. Thank you faberlull.