Inspiration: Texture, movement, flow, colour and tones, nature and my intuition.
Project : Imagery from my rowing boat in the
‘Floating Harbour’, Bristol. A unique insight into the environment and imagery from water level.
Painting
Working with oils was a new experience; the creamy texture allowed me to blend colour which delivered a richness and depth of quality. Slow to dry so I could work at slower pace. Painting 1 demonstrates a mixture of interesting textures and blends of colour but for me it is visually too busy and disconnected. In Painting 2, I
aspired to capture water movement and flow using texture, this was partially
achieved, I would like to experiment further with paint flow and running paint across
various surfaces.
My developing style reflects abstract expressionism and colour field. I draw my inspiration from John Virtue, atmospheric and monumentus in scale; Turners genius of movement and flow; Klee’s tonal qualities and Rothko's impact with
colour. Experimentation of colour and tone is an important discipline to be applied to future projects.
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| Painting 1 |
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| Painting 2 |
Sculpture
Energizing and exciting; channeling energy into sculpting to reflect texture and movement feels liberating, a freedom of expression not experienced in printing. I feel I successfully achieved the challenge of sculpting a ‘to scale’ head
with surface texture (although not without challenges with ears accidentally being chipped off). The fish plinth added a quality and
completeness to this simple piece, on reflection, additional markings to the body of the fish would add to the piece. I’m brimming with ideas for future work, demonstrating flow, shape and form, experimentation with Bath stone and/or clay to sculpted, textured and tactile forms. Moore and Hepworths scale, curves, clean
lines and visual impact excite, a key building block. I plan to build on knowledge taken from the development of my paintings, drawings and research moving forward.
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| 'Sid' the fish |
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| 'Head I' |
Printmaking
Initially compared to painting it felt a slow and confined process; my creativity felt stifled and trapped 'an
uninspiring production line'. In 'The Boat in Motion' I aspired to build energy and movement, showing the embossed boat moving through water. I feel I successfully achieved this
through the 5 progressive prints.
Akiko Taniguchi’s blocks of
colour and negative shapes inspired the boat, blades and reflections on the
water. I discovered carborundum and embossing provided the previously missing dimension of texture. I will look at how to build/combine this technique into future paintings. Transposing energy in the
form of flow, texture and movement is key for me and I have learnt that it is indeed technically possible in printmaking.
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| 'The Boat in Motion' |
'
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| Carborundum print |
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| The Bridge |
Moving
Image
I set out to capture the visual imagery of water
in different forms/contexts around the Floating Harbour. I succeeded in
capturing flow in multiple aspects, the colour palate worked well however there was
far too much material compressed into a 3 minute film delivering a confused story. Less is more! Greater planning and storyboarding required. Possibility to incorporate moving image and sculpture - installation.
Installation
‘Lightening Bolt’. The cloud unrefined and rustic which worked in partnership
with the suspended luminous bolt, however, impact was restricted by the need to position in a
dark space to demonstrate full effect. A consideration for future work. Development of 'clouds' could be built into the next project. Berndnaut Smilde clouds
have a quality to strive for.
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| 'Lightening Bolt' |
Whats next: 'The Fens'
Painting: Experimenting with colour and
tone, examining flow and textural techniques.
Sculpture: Bath stone & clay -
experimenting with techniques and build on knowledge from painting.
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