Exercise 2.4 – remaining work

I have now reached a point with my experiments – I feel at a conclusion with my left handed and blind paintings and will soon complete the Humbrol paintings.  I feel these different approaches have taught me:-

  • pace – to slow and consider more
  • to connect to the way my hand draws in a different way
  • to use my paintbrush in a different way
  • to consider colour and the use/impact it has differently

I, therefore, decided to try and consolidate what I have learnt with a series of mono prints for the final paintings in exercise 2.4.  I chose and mixed all my colours this time which adds much more cohesion to the group.  I also worked by thinning my ink and by thinking about the quality of my marks. I haven’t added a tonal background colour to these images as I really want to see if I can be more sparing with my mark making and to try and utilise the white of the paper in my work.

The first two prints didn’t work – they were too fiddly/fussy but did help me start considering how to use the limited colour palette.

monoprint1-11 monoprint1-10

The first print was dull – far too much ink and not enough space,  and the second shadow print was too vague even when I tried to bring the image out using a second layer of ink brushed straight onto the paper.

I didn’t like where this style was going so I tried to work in broader gestural strokes with the ink, and to thin down more.

monoprint1-9 monoprint1-4

Again, the first of these didn’t work because I had covered the plate too much, and the texture of the brush strokes didn’t work so well.

I really wanted to try and keep my connection to the uncanny whilst working on this set of images so I was also considering how to add an element of the unsettling into the work.  The use of the pink was to offset the monotone palette – which works better in some of the images than others.

monoprint1-5 monoprint1-2 monoprint1-7

monoprint1-6 monoprint1-1 monoprint1-3

Reflecting on the work I feel that I have made a step forwards because I am utilising the space in the image much more.  I am working slower, thinking about how to reduce the information I am seeing down to fewer marks and then putting them on the plate.  I am also starting to see the value of the way I use the brush, the way to create texture and interest in the piece.

The next step is for me to begin using spoiling techniques.  I am going to move onto producing more images with oil paint and liquin and will then work on ways to create the sense of uncanny by playing about with my presentation of the eyes.


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