Assignment 1 - deciding to stop

Eventually I came to a stop! A point where I had become more interested in moving onto another subject and a recognition that I felt I was fussing over small details as the light changed within my studio.

As I progressed from initial layout, through blocking in colour and building tones to adding detail, my progress slowed. I had planned to leave the background as a plain colour but on stepping back and leaving my work for a few hours, I decided to add more detail. The background was prepared from a tablecloth with a checkered pattern in different tones of blue. A simple fold across the middle just off vertical distorted the regularity of the checks. By sketching in the squared pattern with a chalk pencil, I proceeded with filling in the pattern with individual blocks of colour. I wanted to illustrate the light variation from top right to bottom left which I achieved by gradually darkening the pattern as it progressed from right to left. The cloth was not smooth so I wanted to create the impression of woven fabric by overlaying translucent layers. I added some warmth to the background (also present in the original tablecloth) by mixing a small amount of cadmium red with the ultramarine.

The pattern was built up over a tonal base layer and required on-going re-mixing of pigments to achieve the effect I was after. Once I have worked the background, I reviewed the impact on the main subject. I checked back on earlier tonal studies of the subject and set up a single light source in my studio to create clear shadows. Iteratively I added tones to the subject, then shadows. Following breaks (some of which were at least 24 hours), I readjusted the subject as my observation picked up minor issues I was not comfortable about.

I have decided that any new paint marks to the work is no longer adding value. I feel there are places where I have already over-worked the subject. I have not achieved a true reproduction of the colour or mottled effect of the original subject but am pleased with my brighter alternative. I have kept my pallet to three colours (ultramarine, cadmium yellow and crimson) plus white and black.

Finally I have positioned a frame over my work to see if this adjustment to the composition would create more focus to the shoulders, neck and head of the subject. I particularly like the detailed effect I have achieved around nose of the subject. The frame does increase the focus and makes the work resemble a portrait painting but I prefer the composition created with more of the background visible as illustrated at the top of this blog.

This assignment has reminded me of the importance of taking breaks, stepping back and viewing the whole work on a regular basis. There is always room for additional studies of the subject and those where I have used mixed media have produced some interesting outcomes that I want to experiment with further e.g. over-painting grey tone photographic prints. I recognise that I need more practice with achieving a smooth transition from light to dark (or visa versa) with acrylic paints, coping with drying speeds and mixing sufficient (but not too much) colour.

I do not want to develop a style that purely reproduces something that could be achieved more effectively photographically. I get most enjoyment from painted works that go beyond an optical reflection of reality and I am seeking a personal style that allows my imagination to express itself in a technically competent yet confident and playful manner.  This assignment has stretched me technically and through the studies, warmed me up to the potential for further experimentation and personal growth. I have also got more out of my visits to various exhibitions, being more observant and critical of others work as well as my own.

Assignment 1 - preparation

I have used my preparation for this first assignment to experiment with tonal studies and working on coloured grounds. I have chosen my garden sculpture from an interest in man made objects, the playfulness of the subject and its complex colour.

Starting with pencil and graghite sketches I got a sense of proportions, structure and tone. The bright low winter sun cast strong shadows helping to define the subject's mass. I followed this up with a series of photos of the subject from different positions using Degas's approach to studies of ballet dancers. I converted several grey tone photos into stenciles. Then by selecting two examples I produced oil pastel rubbings which enabled me to try out colours for my foreground and background. I also experimented with painting over a photo, re-drawing using drafting aids and also very loose over painting of some of the rubbings. I liked the effect I achieved when painting over the photo print. The paint layer was transluscent and allowed the grey tones to come through from the photo. The bured edges achieved by using a flat brush has softened the image adding to the overall effect.

Experimenting with different colours, I have arrived at a combination that achieves the outcome I am seeking. I have taken those colours then applied them to colured grounds. This appears to have enhanced the depth and strength of the images.

I have set the object up in my studio and am working on an enlarged version again using a coloured ground. I have discovered that working at a larger scale requires more thought to mixing sufficient paint and drying times. Working at this scale also takes longer! I have started the main work by sketching out with a chalk pencil then applying a first layer of ultramarine over which I am applying other colours. I intend to cut back through the upper layers of paint with sand paper once it has dryed to expose some of the under-layer

Experimenting & Observing

Before I started the next exercises I visited the Gerhard Richter exhibition at Tate Modern and Degas at the RA. The contrast between Richter's diversity of approach and Degas' apparent singular focus on movement was quite pronounced. What interested me was the use of photography by both artists. Both artists appeared to have used photographic images as the starting point which led them, through greater awareness of their subject of observation, to further experimentation and refinement of their own work.

Richter's work provided me with inspiration for my own experiments of applying paint without brushes. In particular his images in grey produced between 1968 and 1973 (i.e. "Grey Beams", "Inpainting" and "Grey") demonstrated how regular and fluid texture could be produced through mark making in a thick paint surface. I am interested in creating textural effects and will come back to this introduction this technique at some point.

I have enjoyed Degas's work for some time. I became aware of Degas iinitially through bronze castings of his wax sculptures and was then delighted by his strong, vibrant pastels of ballet dancers. Degas' level of observation comes through in his sketches and feeling of movement in final works. What struck me whilst at the RA exhibition of "Degas and the Ballet: Picturing Movement" was the vibrant effect Degas achieved from building up layers of colour and how from his knowledge and years of study he was able to create the feeling of movement with very little detail. His finished works come alive through the application of tone capturing the highlights from stage lighting or daylight from windows. Having been stimulated by the exhibition, I used one of the Degas images as inspiration for my experiments with oil pastels.

I discovered that oil pastels produced the strength of colour I was seeking and that by applying white spirit to a cloth I could blend and soften the colours I had already applied. Being relatively think sticks of colour I was able to work more freely than when using a pen or fine brush.

I went back to both exhibitions after my initial experiments observing in more detail both artist's techniques. I found that by producing thump nail sketches and making on the spot observational comments enhanced my awareness and have been a source for future reference. I was surprised to learn that Degas had worked on tracing paper a medium I am familiar with from my early career as an architectural assistant.

Subsequently using soft pastels and tracing paper (like Degas), I produced a quick sketch view of my garden. The blocks of colour and smudging technique used helped me to avoid introducing too much fuss and detail. In order to build up layers I had to apply fixative as I progressed. I feel that I have not achieved the tonal impact I was after and need further practice with this medium. I have using a coloured ground with greater toothing in the past and believe that achieved better results.

Having enjoyed my experiments with oil pastels, I decided to experiment some more with this medium and sketched a garden sculpture on my patio. Being very portable as a medium, I was able to sit outside despite the damp and cool atmosphere and produce a strong image fairly quickly without the drying delay that would have resulted had I chosen to work with water colour. I find this subject playfull and challenging due to the engineered nature of the metal sculpture with interconnecting parts some three dimensional and others just slightly moulded flat sheet all with a rust like finish. The whole subject is a combination of different man made objects (plastic and ceramic pots, artificial stone paving and metal sculpture) and natural material (gravel and plants).

Grayson Perry has explored the juxtaposition of objects in his current exhibition at the British Museum, "The Tomb of the Unknown Craftsman". On visiting this exhibition I was intrigued by the playfullness of Grayson's own  works and how sometimes it was difficult to spot which objects were actually historic artifacts and not his own work. Grayson's use of rusted iron for some works created a feeling of age, weight and warmth. I had seen a TV programme about the background to this exhibition prior to my visit which helped me to understand the artist's intentions and appreciate the overall concept. I have enjoyed observing craftmanship and the whole construction process in building and civil engineering works throughout my professional career and can see this as a possible source/theme for my own artistic development. As a motorcyclist in my youth and middle age, I could not go past the customised machine at the exhibition's entrance without taking several photographs!

Whilst at the British Museum I was reminded of the spacial impact of the building structure on the exhibits.