Blue and Orange

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This piece was very important to me because It allowed me to be looser with my brush work, for one it was a large scale piece and secondly it was painted over an already existing painting, this allowed me to have fun with the painting and the already existing work gave my work a whole new dimension. Creating this was important in understanding what it means to paint on a personal level.

Using the images from my collages i wanted to create a large scale figurative painting that is being drawn into the abstraction of the background. The painting gives the sensation of forms rolling over each other, it is unclear where one form ends and another begins but there is movement within the stretching bodies. Aswell as transcending the sensation of an experience i also wanted to show that through colour everything is connected, there is ambiguity where the form and background touch. Focusing on the complimentary colours of orange and blue i wanted the resonation of these hues to be just as important to the concept of the painting as the subject itself





Bringing figures into abstraction through colour

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Ive been thinking about the way in which we perceive our reality. how do we really see the world. Maybe we only see the world through hues and tones and it’s our understanding and knowledge that then registers objects into form, it is our understanding of self that creates segregation. I believe that Cezanne however paints exactly what he sees in terms of colour, he paints nothing but the colours he sees and then they modulate into identifiable form.

Bearing this in mind I wanted to recreate this cubist drawing whilst playing with the optical illusions that can be created with colour.

Cubist drawing

From looking at the works of Cezanne and Picasso i wanted to achieve a composition that creates harmony within the landscape, breaking down the definition between subject and background. which i believe gives us a different perspective of visual experience.I also wanted to transcend figures in an experience like we see in Cecily Brown, as i believe this in effect causes us to consider our own conscious experience. Therefore i created this drawing of ambiguous figures drawn into abstractions.


Oil Bars

This was just a quick study continuing with my exploration of using oil bars. Using a composition from my collage work, I’m enjoying their thick expressive quality, however i also find their instantaneous application gives a confrontational yet naive quality. Colour was my main focus here, just playing with relations.


Adding spectro flow

I worked on board instead of canvas this time, experimenting with creating a loose form. i was hoping that using a different surface like board would give the paint a different sensation. since the board is less absorbent than canvas material therefore the paint looks more visceral and wet.

To add to this quality i used spectroflow to give the oil paint a wet look, i wanted to create the sensation of a figure that was becoming lost in  the abstraction between figure and background. i believe spectroflow was an effective way of achieving this. It allowed me to explore Cubist ideals in a different medium


More bleach figures

Continuing with the use of ink and bleach, and the motif of female nudes. i focused on more of a subtle transition between tones, i was focusing on trying to get a subtle bleed of ink into the figure, like you would see in a Louise Bourgeois painting. The figure is in an open confrontational pose, like those seen in the works of Cecily Brown.


Sitting figure

Continuing with this motif as well as using inks and bleach i have also started to incorporate oil bars into my work. This was effective in getting a thick expressionistic outline


Red Figure

I began making figures using ink and bleach. The bleach acts as a repellent to the ink pigment, as soon as the bleach comes into contact with the ink pigment it pulls it away. The bleach spreads quickly so you don’t need to use a lot of it. i believe the medium is very successful in trying to get the look of a loosely painted figure. through this process of retraction you can achieve an accurate sensation of tonal gradation, yet keeping the image fluid and loose.

Bleach is a corrosive substance which bites away at the material of the canvas, therefore when you hold your work up to light, the light causes the colour to intensify at certain points where there is more bleach.