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.