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




Distorted figures and the visceral quality of paint.

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the imagery for this piece was inspired by Paula Regos’ work. As I have mentioned earlier, I realised that I wanted to capture human form as the imagery would contain much more of a narrative. I felt since Cezanne’s landscapes were so isolated and void of humanity and I was so excited by documenting the busy culture of Marrakech I thought i could apply what I have learnt from Cezanne’s landscapes to depicting the human form. Still focused on his ideas of achieving the truth in visual experience, and the truth of experiencing perspective.

I was inspired by Rego because the female characters in her work have an extremely raw and animalistic quality but are also very strong and powerful, i find the combination very exciting. To represent this I used a distorted contraposto pose and enlarged aspects of the body like the feet and knees. I wanted to portray movement in the figure in the same way that Cezanne would make art and life the same. I used conflicting viewpoints to an extremely exaggerated degree and played with the visceral quality of paint, I added some spectrogel and with a loaded brush I started to paint as if my medium was flesh. I believe the tonal modulation of colour succeeds in suggesting a solid figure but the fluidity of the paint gives a sense of traced movement

Final piece of the shaped canvas project


the imagery for this piece is inspired by Cezanne’s still life studies, however I have exaggerated the distortion of angles that can be seen in Cezanne’s paintings in order to push a more cubic quality. This is most obvious in the legs of the table, we see much more of the leg than what would be visible from one perspective, as if our eye is moving around the objects, the fact that the canvas is shaped not only makes this distortion more obvious but also creates a more three dimensional quality which helps make the painting look truer to reality.

Key points of documentation

I chose to create a body of work in response to Cezanne’s ‘Francois zola Dam’. I chose this artist because I believe his ideas and paintings offer enough depth and substance to create a body of work from. My premise was to explore how successfully Cezanne portrays the truth in visual experience. I wanted to do this through exploring the artists use of colour, composition, perspective and form.

From visual analysis of the painting I could see Cezanne used directional brush marks and the tonal modulation of similar hues to generate form. He cleverly uses warm and cool colours to draw our attention to certain objects. These are all techniques that manipulate our perception of distance in perspective. Composition and subject are striped to their most basic geometric form, this creates harmony within the image depicted. The ambiguous outline between the subjects which also creates a harmony within the composition of nature.

I’ m interested in how the artist represent the experience of perspective, the way object seemed to be depicted from two different angles, it could be argued that this was cezanne’s method of depicting the truth in visual experience. I realised when replicating his landscapes that an obvious way to extenuate his methods of achieving was to exaggerate them completely

The colour theory module changed my handling of paint, I realised colour is an integral aspect of his work, the way he plays one tone against the other to manipulate our retina.

Once I began using oils the colour became less muted and more vibrant,

Not only did Marrakech allow me to appreciate the importance of colour but also the importance of narrative. I decided I wanted to document the human form however I want to apply cezanne’s ideas of making nature into art to my realisation of the human figure. Using directional brushmarks, tonal modulation of similar colour, contrasting view points. I also wanted to represent truth through showing the movement of the figure through the visceral quality of paint, I added a spectrogel to the paint to give the medium more substance.

Breaking down the definitive outline with regards to the human form

This is an underpinning I am currently working on. It shows an ambiguous figure/figures moving within a contorted position


Breaking down the definitive outline through colour theory

DThis is a section of an unfinished oil painting that I am currently working on, it is keeping with the premise of exaggerating Cezanne’s methods of playing with true perception by using contrasting viewpoints, and breaking down the definitive outline but I am now creating much more of a focus around how colours react with each other, since doing colour theory I realise that the science behind colour is just as important as the drawing in creating form. I have began to repeat the definitive outline of these simple geometric forms using complimentary colours that will resonate in our eye, this when finished will be an image that one will struggle with to determine when one objects stops and another begins. Hoping to create total harmony between the forms in the landscapeWIN_20150313_151516

James green workshop

Today we questioned why does a canvas have to be rectangular or square. Why is it that the human eye has become trained to expect to see images on a square surface, if we think about how we view the world i.e. windows, I pads, phones, TVs it is all through the same shape. However if we consider primitive cave art it can be seen that they used/incorporated the three dimensional surface of the cave to create their drawing, along with the shadows that would be created. The artist Pierro del Francesca created a painting called the flagellation showing linear perspective on a 2d rectangle to create depth, it is seen as a mathematical explanation of nature. Cezanne is an artist who was although interested in this, soon realised the world isn’t really like this. The cubist ideal of breaking everything down and reassembling it in an analytical manner pushes the notion that we have many different view points when experiencing life, not just the one. Picasso started working with shaped canvases to add to his image and so did David hockey who created a shaped canvas to paint a typhoo tea box, they used the shape of the canvas to draw the object in order to gain a stronger illusion of depth.

I felt this was a very fitting project as Cezanne was playing with viewpoints and perspective. although he may mot of been aware of it. I started by choosing my shapes. I decided to replicate a Cezanne still life and a landscape but cut into the forms with the ban saw, I also used a smaller version of a ban saw to cut holes in the middle of the wood, this will hopefully play with ones perspective of depth. Although I have used a ban saw before I definitely tested my skills as the cuts were much more detailed in shaping my objects and the more curved the edge the harder it was cut the wood.

Once I had sanded and sealed the wood with emulsion I started to paint the under layer using greens and yellows mainly, just gradually creating a tonal gradation to create form and 3d curves within the piece, creating distance within perspective- a trick of the eye. I also used these colours as an under layer in the hope that when I go over the pieces with colour the illuminosity will transcend through the top layer.