I have spent a lot of time moving my paintings around and changing their placement in order to consider every possibility of composition. I have decided that i would like to place two on each wall in order to utilise the space equally as i feel this would be the best way for the viewer to experience the paintings, ideally if i had more space i would have more of a distance between each painting to juxtapose the intensity of confusion of the composition in the paintings. It’s been rather difficult to decide which ones work better with which as theres many things to consider.. which work better in dimmer light, which correlate better in composition, weather i want the two blue paintings together or weather i want to separate the tonally warm paintings or keep them together.
My practice currently involves working with the relationship between the human figure and its environment. I work from collaged photographs of myself to create drawings and paintings that suggest an ambiguity of gender and narrative which are further abstracted by the distortion of the surrounding scene into the figure. I attempt this by disrupting and balancing form, the use of discordant colour combinations and expressive gestural marks. Through the universally recognisable use of the human form the audience is invited to reflect on their own corporeality and physical presence in the world.
Today i feel as though i’ve reached a point with my first final piece that i would be happy to leave it as it is. There is dynamism in the figures, they are locked in an experience of interaction with each other and the surrounding scenery. The objects of the interior room break up the figures and there is uncertainty as to what exactly are the objects and limbs of the figures. The interaction of colours also create an ambiguity as there is a unsettling vibration between the complementary colour pallet and uncomfortable steaks of shocking pink. The brush marks also create ambiguity in the composition and relationship between figure and ground as they are loosely applied and suggest movement. To improve on this however i could bring more objects into the figures to push the whole composition further into abstraction. Maybe make it even more unclear as to which aspects of the painting are limbs and which are just objects of the scene depicted.
I have gone back to making some ink drawings as i feel i need to retouch with a method of working which is looser and there is no sense or feeling that the pieces must be ‘finished’ or ‘complete. With these ones in particular i have tried to add a few more figures into the composition. i am also pushing the notion of intercepting objects of the background into the figures to the point where there is almost an uncomfortable and slightly violent aesthetic. To add to the abstraction again i am also working with negative shapes over the composition which i feel is successful in creating greater confusion to the narrative of the piece.
Whilst trying to emulate George Baselitz’s paintings of landscapes that intersect the central figure i’m also trying to suggest some sort of nature woman. This is quite hard to do because as soon as you start to break the figure up with branches and plants it is difficult to disassociate from automatic connotations of a different narrative. I think the way the trees in the distance have been painting are successful as they are applied loosely and show fluidity whilst also creating space for the painting to breathe, however i feel as though the red tones of the trees have become too dark and oppressive. I think i will leave this one for a while as i don’t see how it can be developed. i feel very lost with this piece at the moment as I’m not satisfied with the composition at all, its very different to the other two and doesn’t work among the trees at all, it just doesn’t seem to fit. I might have to block out large chunks of this piece if i am to continue with it.
I have now started to work on a composition for my 3rd final piece. From working on a previous ink drawing i decided that i like the effect of over-layering figures directly over each other in a slightly adjusted position, suggesting one figures movement traces caught in suspense on the surface of the canvas. I do however feel that i have made the background too yellow which is very distracting to paint over, i have therefore had to go back over the painting in a white tone just to neutralise the composition and knock everything back. Again i am continuing with the notion of using the figures to fill the composition of the canvas and compress them against the edges of the frame, i feel this adds a lot of tension to the piece.
As I’m still waiting for my first painting to dry I’ve started to map out the composition for the second piece. I begin by making ink drawings, of which the composition eventually influence my oil paintings. I’ve decided to create a scene that resembles the outdoors this time. I enjoy the way George Baselitz uses whole junks of landscapes to breakup the figure he depicts, Cecily Brown is also one to work with woodland landscapes for her depictions of sexually charged scenes. I feel it would be interesting as a means of creating a sense of abstracted narrative and a means of distorting the figure.