Sunday, 16 November 2008

The Work

A mention here of past glories... I began using household paints when I moved into the Liverpool studio. As is often the case, there was a load of paint left behind from previous artists and it seemed a waste to chuck it away - lots of lovely colours and I really liked the fact that the paint had a bit of history. I enjoy the freedom of not being fussy with small tubes and paintbrushes drive me crazy. I usually work on the floor laying the canvas flat and pour paint, working into it with hands, screwdriver, bits of card and anything that comes to hand. I am happier working on the floor than on an easel for some reason. I am able to pick up any corner and manipulate the canvas. Cleaning up is a bit of a nightmare.

I also like the work to emerge from the poured paint and let it start a life of its own. The hardest thing is the beginning, after that it is a series of decisions based on what has been put down previously. These works were completed very fast - each in a single session and I do like them. I sold most of this series but I did not want to part with the first Poppies (160 x 120 cm) and it hangs in my studio. It has shown at The Institute of Directors in Manchester and Cheshire Fine Arts Gallery, Chester.

New work... is more moody and melancholy I think. I seem to be taking more time now with paintings and they now emerge over several months and layers. I suppose there is a natural evolution in work that won't be forced or rushed and this is where I am up to today. I still prefer working in household paints but also use spray paint more. I do like the speed of coverage over large areas with these often less manageable paints and find them exciting to work with.

And the prints - these are really still in the embryonic stage. I am experimenting with some fundamental techniques to start with and get a feel for this very different way of working. This is a medium that requires far more preparation and consideration for each way of working - relief, intaglio, screen etc. I do want to try and maintain the two disciplines together but this might be difficult - that will depend on the demands of the course. Printmaking is obviously something which has appealed to many artists in the past and I am really looking forward to finding out where I can take it in regard to my working practice.

The New Work showing here is a mixture of paint on canvas, monoprint in oil and water-based gelatine prints on paper.

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