This is the final project of Painting 1: Understanding Painting Media and you will now be starting to develop your own personal voice. It is important to identify this in your learning log and
to try and get to the essence of what it is that really motivates you. Which three words might describe your practice at the moment? On reflection, which parts of this course might you continue to develop? Look through your learning log and consider the images and ideas that you’ve collated. Have you fulfilled them all? Do some of these ideas and images merit further research and development?
As I have mentioned in earlier blogs, I have now been advised to focus on a few personal concerns to allow me to enjoy the painting process more. For this part of the course, I am intending to work on developing my personal voice through my use of and exploration of visual language rather than content. I have been over-complicating matters and am, therefore, hoping that by simplifying things I will learn more from engaging with the creation of the work and my use of the materials.
What motivates me?
UPM has shown me how much I enjoy working from found images. I am very much inspired by the work of Luc Tuymans and the way he interprets found images. I did, however, read an interview with James Quin and a comment he made regarding painting from a photographic source resonated with me – https://canvas.saatchiart.com/art/inside-the-studio/from-the-studio-of-james-quin
In the interview Quin says “In the past photography played a much more important role in my image making, but found that I always ended up with an image that looked like photography had been its beginnings.” This has certainly altered my perception about relying on photographic references too much. I had previously intended to produce a range of paintings all from photographs for Assignment 5 and am now rethinking this. I do have a sense of the two dimensionality becoming overwhelming when I work from an image – somehow the element of life and energy is drained from the image.
I can see how the quirks of representation are just as important within the image as creating something accurately representational or at least well-drafted if moving towards the abstract. I recently watched a youtube video by the artist Adebanji Alade https://www.youtube.com/watch?v=DLeboHdMJF4 in my search to try and understand how to construct an oil painting. One thing struck me was his comment that ‘I want people to see people’s faces through my eyes, everyone else can paint….but I want you to see what I see in a face. I want you to see the way I see those strokes, the lines, the curves, the smile, the frowns, everything that is in a human face, I want you to see the way I see it“. This certainly sums up the simple beauty of creating something from life – that there is no duplication in representation when it is created by different people and I, therefore, need to take this into account and create work with a variety of sources for Assignment 5.
I am also interested in the way the reproduction of the same photograph or image can be transformed into animation, which therefore, alters the perception of the work quite radically. Dryden Goodwin did this in ‘Suspended Animation‘ where he drew the same image 29 times and then created an animation from it http://www.drydengoodwin.com/29draw.htm https://www.moma.org/collection/works/96038?locale=en – This is certainly something I would like to try myself and if not for assignment 5, then I would like to try and do something like this for my 2018 Jerwood Drawing entry.
Which three words might describe my practice at the moment?
I am not sure my practice is established enough to quantify it in this way, but I definitely am interested in working from (and manipulating) the found image, working in monotone and trying to work in a multitude of mediums rather than just one (for example, I really enjoyed working with salt dough and painting it for Assignment 2 and would like to explore this further).
Which parts of this course might I continue to develop? Have I fulfilled all my work to date? Do some of the ideas merit further development?
As I have just mentioned, working with three dimensional form is something I am interested in continuing to explore (perhaps on found objects as well as creating my own). I am interested in creating animation from my drawings/paintings and I would also like to work further with my monoprints to see if I can then incorporate other painterly mediums. At present I am unsure which paper would be best for this – I use Somerset to print on, however, this is far too absorbent to use for painting so I would appreciate pointers as to how I might do this. I would also appreciate ideas as to how I might combine oil painting with printmaking given the need for an appropriate ground with the painting element.