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11.6.21
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In line with the development of acrylic exploration this year, my oil painting followed a similar trajectory into mediums. The process method of working has repositioned my work away from a hard edged flat image where the surface of each colour has little or no definable brush mark to a freer more gestural way of applying paint that makes for a completely different pictorial treatment. With the previous method no mediums were required; the paint straight from the tube without even pure turpentine sufficed, a purist way of working. With current painting, the new language requires different mediums to enable fluid and liquid paint to be applied and for that application to remain intact through the lengthy drying process of oil paint.
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This painting was started late 2020 and reworked 2021. Again using the sign painting brush that allows for a heavy volume of paint to be carried, the long hairs quiver and paint drops begin the application that in many instances does not involve the brush actually touching the surface at all.
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| 75 x 122 cm |
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| 13.7.21 |
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| 63 x 72 cm |
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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
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| 61 x 90 cm |
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| 11.7.22 |
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| 73 x 107 cm |
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| 105 x 127 cm |
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This paint application was extremely fluid, and I was surprised at the way the paint and medium actually adhered to the surface. However, the freedom of brush movement was astonishing and I relished the on-canvas mixing of the blacks and naples yellow, fusing the paints and integrating the surface. The more figurative elements of this painting developed in line with the larger paintings worked on at the same time and featured in the next post. The illusion developed out of the handling of the paint and with no other intention, device or method.
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| 8.7.21 |
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