Light painting II in oils

Working in oils this week, I am pushing my technique and experimenting with starting with the light image and then working outwards into the dark space. Working with the creamy texture of the oil the blending of colour is very satisfying and is somehow easier to blend the colours avoiding any distinct lines. By working in this order the light source visually sits behind the darkness so you look into the painting rather than the image sitting on top. I need to wait for the paint to dry before I can decide if its giving me the look and feel Im searching for.... maybe this one is going to be the final piece.....?

Oil on canvas

Its more than a painting....

Taking inspiration from James Turrells light installations (Im feeling ambitious) I want to exhibit more than just a painting at my first public exhibition. My ambition is to create a calm contemplative environment in which to view my artwork. So... I plan to install a false wall in the cloakroom on which my painting will be hung and position some hidden fibre optic lighting which will illuminate a length of the original tiled wall to the left and behind the painting, (using Lee theatrical theatre gel - Ultimate Violet). This gel will also be placed in the fixed lighting on the ceiling to create a soft light., removing the harsh white light. All windows in the room (of which there are many!) will be blacked out to prevent any other conflicting light pollution. I plan to position 1 LED spotlight to illuminate the painting to add the impact Im striving for.

The Space
False wall will stand infront of the fixed cupboard

'Stage Electrics'
Theatrical supplier of lighting gels

False wall in the making

To 'stipple' or not to 'stipple' that is the question!!

Grounding complete on the canvas, 3 layers of acrylic, oxide red, black wash and a violet glaze. Happy with the end result. It has a warm, soft, velvety tonal quality. Now to paint the light... ha.... the difficult bit as I don't want to ruin the canvas! Discovered a technique called 'stippling' basically a very large shaving brush which is made of badger hair (poor badger!) method is all about dabbing the paint repeatedly so you get very soft, muted images - used a few different tonal blues to get a bit of contrast. Not sure if its finished but will take a break and revisit later...

Down in the sculpture room
the only place with enough space to work on the canvas!

Progress with the stippling!

Evaluation - Horizon in Suspension

Horizon in Suspension

This project can only be described for me as a roller coaster of emotion and energy, a massive step in my learning. I had been naive about the sheer work involved in working with ceramic. For the uninitiated, it is a complex web of process and a minefield of challenges. I certainly under estimated the time and energy this would take out of me. In hindsight I made far too many testers, approximately 25 of them. I wanted to research all possibilities with shape and glaze combinations. A great learning is don't try that many!!! Keep it simple and focus early in the process keep the process tight. I hadn't appreciated how temperamental glazes would be, a critical success factor for me was to emulate dads turquoise glaze as the horizon and get the cracking technique right. Im happy with the cracking, my masterclass with dad before xmas reaped its rewards. Referencing his secret recipe book of glazes we matched the components. Application is not easy, getting a smooth, even coating, not too thick, not too thin, no drips, no bubbles … I could go on I think you get the picture!

Tjerk van der Veens

Annie Turner

I researched other potters that focussed on organic approaches to their work, I really liked the natural, earthy physicality that Annie Turner, a river potter from Suffolk produces and Tjerk van der Veens expressive earth like sculptures displaying geological imagery, echoing the dynamics of the earth, this is what Im striving for.

Tjerk van der Veens 

When disappointment hits, (the glaze didn't work as I had it in my head) you think the world is about to end.. Im not normally dramatic but thats how it felt. It took me a few minutes to get my head around this perceived failure to realise it was presenting me with a gateway to take this work in a completely different direction - into the world of graphic art. I came to the realisation that just because its a project that needs a conclusion the final piece on this journey doesn't have to be perfect and infact its still work in progress, thats OK! I had to say it feels a bit of a relief.
A different direction into graphic imagery was where I went, photographing my ceramic and overlaying it onto photos I had taken in the Fens, My project had closed the 
loop on all three projects, I would like to say that was planned but it was serendipity.

This process of drawing the Fens pushed me through and  inspired me to work out how I was going to mount my ceramic horizon and suspend it. Originally I was going to hang it from the ceiling but I felt the string (organic in nature) was going to be a distraction from the piece itself, the Horizon needed to float and not be contaminated by other visuals. After discussion with a fellow artist I have constructed a wooden baton to fix to the wall (invisible for the viewer), Horizon in Suspension floats in the air just as I had imaged in the master plan.

 A personal journey that has taught me a huge amount about myself, I set out to create an installation that holds the viewer, simple, organic, infinite yet beautiful, I believe I have achieved it.

Floating Ceramic Horizon

Ceramic overlay
Two works better than one

Two ceramic pieces overlaid to construct the horizon. The ceramic was photographed and cut with photoshop to accentuate the cracked edges then overlaid onto photographs taken in the field whilst researching the Fens.

I have to say once I recovered from my initial disappointment of the glaze I really enjoyed the challenge of learning Photoshop and taking this project in a completely different direction. I really like the graphic imagery, although this has had to be executed pretty quickly because of time constraints its definitely something Im going to explore further an play with. Thanks Abby to pointing me in this direction :O)

Blue

Drainage

The Phoenix …. the final stages of Project III

Cracked clay with horizon
55cm x 10cm

Im almost too exhausted to even type….. Im now in the final stages of project III. I have to say this is the most exhausting art creation I have EVER done! I had no idea how much emotional and physical energy was going to be required to create a 55cm x 10cm ceramic installation.Floating Horizons (x 4) in the kiln having been glazed and now fired. 



The doors of the kiln open and revealed…. a rather disappointing floating horizon, the glaze hadn't worked as well as the small testers. 



The all important turquoise glaze was dull, no vibrancy and the MS glaze which showed signs of being earth like and rustic came out dark and yes, dull. I was thrown into silent contemplation, I can't describe the disappointment I felt, yes I know firing is like russian roulette but this was important for me to get right, this was for dad, but its still OK, I can work with it.
Having laid out the final pieces on the table, I was comforted by lots of suggestions on how I could move this forward, I have to say there was just a lot of noise around me for several minutes but out of the fog came a complete change of direction - a genius suggestion from Abby Nichols, tutor and photographer extraordinaire - why not photograph the piece, maybe 2 and overlay the image onto a photo - a sort of virtual installation. Genius idea, just one problem I had no idea how to do it! Photoshop!! Ive never done it but how hard can it be …..

Making of the prototype

Small test pieces complete, I now need to make some prototypes of the final size. I need to make holes in the clay to test if I can hang the pieces, test the maximum size, Ive measured the kiln and I can get away with 55cm max. I need to consider that after the firings (biscuit and separate glaze firing) that the clay will shrink so I need to make sure the small holes will be large enough to thread the string or wire needed for suspension. 

Red and white crank clay
55cm long

More testing with the Horizon, Im experimenting with a fine roll of clay inset into the cracked slab.

Having cracked the clay I worked out that if you turn the clay and roll it out it expands the cracks on the underside making the finished piece far more dramatic

Ready for biscuit firing, important to make sure theres minimal handling and the pieces lay flat, so I have managed to get the prime spot at the bottom of the kiln. 48 hrs of firing ahead.

Next, the wait…… and onto the glazing, this will be determined by the results from my small test pieces, an amalgomation I think of the best results.  

Who said artists don't work hard???

Project III

Ceramic Installation - Horizon III

Well I have to say this project is much more than exhausting, my head is about to explode with the million different process steps that need to be considered. The final piece will involve me working through the multiple processes to synergise the shape, texture, size, colour of the glaze and how to install the piece once complete.

           

Test pieces

Glazing of test pieces ready for firing

I have a new found respect for all ceramicists, the journey of a finished ceramic piece can only be described as a minefield. Detailed documentation of every step, what clay you use, the type of slip, temperatures for the biscuit firing. Then its the glaze, multiple layers of glaze to attain the finish required, applying wax to certain areas before applying a different glaze to ensure a clean delineation between colours. The temperature reached during firing is critical, the colour of the glaze can vary if the temperature of the kilns is slightly off. So its all in the preparation, document the variables and then once all the test pieces emerge from firing a decision can be made on the how to execute the final piece. Process, process, process ………

Evaluation - 'Horizon'

‘Framing the infinity’

This project immediately followed my fathers death, I returned to the studio feeling very calm, for me it was about stripping elements down to a minimum and keeping the imagery simple.

               

'Floating Horizon' (200cm x 50cm)

Acrylic on canvas, working with deep purple and blending aquamarine and red with the cobalt teal dissecting the canvas. The effect being one of calm contemplative and mood provoking whilst creating an imagery of infinity, the lines wrap around the canvas.

Rothkos ability to create an atmosphere and depth to his paintings evoking an emotional response and reflecton to the colour has been an inspiration whilst Barnett Newmans ground breaking paintings (more in the vertical) developed his infamous ‘zip’ series, have been rotated  into the horizontal. The simplicity of the imagery for me proves a powerful image. Agnes Martins work which depicts simple lines of colour, although for me the colours are not as bold as my natural preference, more pastel in tone, influencing the ‘zen like’ atmosphere. I have taken these ideas and blended them into my final works. In ‘Red’ I feel the thin cobalt teal horizon works well, it presents a thin, crisp line exactly what I was aiming for

'Horizon II'   (100cm x 65cm)

Acrylic on canvas, working with deep purple and blending aquamarine and red with the cobalt teal dissecting the canvas. The effect being one of calm contemplative and mood provoking whilst creating an imagery of infinity, the lines wrap around the canvas.

Rothkos ability to create an atmosphere and depth to his paintings evoking an emotional response and reflection to the colour has been an inspiration whilst Barnett Newmans ground breaking paintings (more in the vertical) developed his infamous ‘zip’ series, have been rotated  into the horizontal. The simplicity of the imagery for me proves a powerful image. Agnes Martins work which depicts simple lines of colour, although for me the colours are not as bold as my natural preference, more pastel in tone, influencing the ‘zen like’ atmosphere. I have taken these ideas and blended them into my final works. In ‘Red’ I feel the thin cobalt teal horizon works well, a thin, crisp line, exactly what I was aiming for.

'Horizon I'  (100cm x 65cm)

To achieve the flat surface I used foam rollers, applying across the horizontal to create an expansive feel,  ensuring the colour was blended to achieve the soft muted contrast. It was easier to work with the paintings on the floor, I could apply pressure with the rollers and had more control over the desired effect. It was important for me to paint the edges of the painting to reinforce the infinity. The end results were original in the making, I went with my gut feel as to the colours and how they were blended although it was difficult to work fast enough whilst the paint was wet enough to get the blending. It was important for me that I created an illusion that drew the viewer into the painting so using masking tape to create the thin line, which if you look carefully gets narrower in the centre of the painting.

Areas for improvement next time include applying more layers of colour to add more depth, texture and an overall quality to the painting, this can be achieved by mixing the colours with a glaze to thin the paint and applying multiple layers. Experimentation with a larger roller so I can work quicker to avoid the paint drying before blending is complete. In ‘Floating Horizon’ I would make the white line thinner as I feel it looks a little clumsy currently in addition to placing a board between canvas and frame to avoid the frame imprint.

I set out to achieve a simplicity, stripping back texture and energy in my painting, the overall effect is one of calmness and depth, yes I’m very happy with the outcome but have clearly identified where I can improve the next paintings.