Sunday, 16 February 2014

First Paintings of a New Semester

Due to the unavailibility of the printing inks that I required, (ordered from the shop, but they hadn't arrived yet) I decided to paint some studies based on how different circle forms and compositions react to the square canvas they are placed within. I started out with a blue canvas in an attempt to relate to the cyanotype printing technique (monochrome blue), that I will be trying.

I created the painting specifically with different colours, depths and forms so I could view how these different element transfer through the digital negative process and on to the cyanotype printing process. I will use this as a base point to evaluate the success of various further prints as it will allow me to gauge how the process treats various elements within paintings, such as shadow, depth and the conversion of colour to monochrome.


While the first painting contains a simple form with cool colours with a large tonal difference, the second is designed with a larger variety of colours. This is so I can evaluate the success of simple designs versus chaotic designs after they are processed and printed. The third painting was focusing more on the use of warmer colours to see how these colours would transfer into the monochrome blue of the cyanotype print.



Circle Study #1
60 x 60cm
Acrylic, Emulsion and Pastel on Canvas



Circle Study #2
60 x 60 cm
Acrylic, Oil and Emulsion on Canvas



Circle Study #3
60 x 60cm
Acrylic and Emulsion on Canvas

Thursday, 21 November 2013

Studio Observation Paintings

The drawings, from which these paintings were inspired, were all completed sitting in the studio space. The compositions were constructed and altered by placing objects within the frame, such as: hanging canvas, paint-covered overalls and "the artists chair".

The intention of the paintings was to was to further explore the relationship between colour balance and composition. This took the form of initiating the painting process with carefully constructed grounds from various coloured household emulsion paints. This experimentation produced success to varying degrees, with the backgrounds with a higher tonal register (lighter colours) creating a better surface to build on top of.



Studio View #7
116 x 116cm
Oil, Acrylic and Emulsion on Canvas



Studio View #5
116 x 116cm
Oil, Acrylic and Emulsion on Canvas



Studio View #6
116 x 116cm
Oil, Acrylic and Emulsion on Canvas



Overalls with the Artist's Chair
116 x 116cm
Oil, Acrylic and Emulsion on Canvas



Tuesday, 12 November 2013

Still life paintings

These paintings are all based off drawings of still life drawings done in my room at university or in the studio. The drawings were intended to represent the juxtaposition of forms within the scene. Some of the still lifes were impromptu, while others were staged or recreations, whether with other replacement forms or an imaginary addition to the composition.

The main focus of the paintings were to experiment with different colours as a base for the painting and to explore elements of the translation of a drawing to a painting. However the paintings are intended as stand alone pieces to work without the supporting sketches.



Door with Hanging Coats
100 x 90cm
Acrylic, Oil and Pastel on Canvas



Studio Recreation of Hanging Coats #1
90 x 90cm
Acrylic, Oil, Pastel and Emulsion on Canvas




Light Beam with Hanging Coats
90 x 90cm
Acrylic, Oil, Pastel and Emulsion on Canvas




Studio Recreation of Hanging Coats #2
90 x 90cm
Acrylic, Oil, Pastel and Emulsion on Canvas



Condition of Studio Wall and Floor
90 x 90cm
Acrylic, Oil, Pastel and Emulsion on Canvas



Reacreation of Room Corner
90 x 90cm
Acrylic, Oil, Pastel and Emulsion on Canvas



The Artist's Chair
90 x 90cm
Acrylic, Oil, Pastel and Emulsion on Canvas


Wednesday, 23 October 2013

Appropriation #1

The painting was named 'Appropriation #1' it is first in a series of works to be created exploring the same themes. Although it is clearly not a direct appropriation (meaning the use of borrowed elements to create a new work) of the objects originally sketched, the intention of the painting is to reflect myself as and artist and a person. As the paintings are largely abstracted the way they are created, use of form and colour is mainly generated as work is done on the canvases. The decisions made during painting, use of a colour here or use of a form elsewhere, are unconsciously informed by my thoughts, feelings and experiences. This is what is being appropriated within the painting.

The painting is created on four separate, identical canvases, primarily for transportation reasons. It is an attempt to try different methods to make my work more accessible, without compromising on the scale. This design also enables the paintings to be expanded, as more canvases can be added if more space for expression is needed. Alternatively each section of the painting can be viewed as if it were it's own painting.


Appropriation #1
224 x 224cm
Mixed Media on Canvas


Production of 'Appropriation #1'


The painting is based of an abstracted sketch that was done in my sketchbook of a view that I happened to be looking at. The objects are of no significance to the painting, merely a method of designing a composition.

Original drawing in pastel, paint and water.



Further painting building up the main areas
Creating a 'background'


Painting added in a multitude of media, including
Acrylic, Gouache, Glass Paint and Poster Paint.