I’m working on a couple of paintings at the moment that are a slight departure from my recent work. My Relationships Series of paintings generally had a narrative content, either implied, or conferred on them by the viewer. With these new works, I have removed the narrative content, by using the same model for each of the poses. In so doing, the viewer is free to study the relationships of the separate figures on the canvas.
The larger size of one of the canvases has presented a few challenges. Although I worked through each pose with drawings in previous sittings, I also sketched directly on the canvas whilst working with the model. The canvas is 1.2m tall, and I had quite an elevated viewpoint – standing on a chair. It entailed lots of stretching up and bending down; I can’t recall a painting session that was so physically demanding.
The second painting is more modest in size – 80cmx80cm – and is based on The Three Graces.
I have just received notification that my piece “Relationships Series – Kirsty and Beth” has been accepted for the Sweet’Art show “Guilty Pleasures”, to be held at Juno, in Shoreditch, from the 6th November.
It poses an interesting dilemma, as the private view happens to be on the 6th November – the same night as the official opening of Street Corner Gallery (edit: re-named Project Space). Well, it’s a nice problem to have.
Founded in 2012, Sweet ’Art’s mission is dedicated to the promotion of artists at all levels of their career through the delivery of thought provoking, engaging and fun site specific exhibitions and live art events with a difference.
Alongside the planned program of events, artists are invited to join Sweet ’Art and be part of a growing network of artists enabling them to showcase work online and be in touch with other members of Sweet ‘Art.
Sweet ‘Art is dedicated to the promotion of art that is thought provoking, intelligent and challenging in its consideration of both aesthetic and concept.
Sweet ‘Art embraces all disciplines of work and encourages artists in a process of exploration, challenge and debate when considering their own practice and that of others.
I recently sold this piece on New Blood Art. It was painted in 2007, but I have only shown it once briefly, in a recent group show (Stomach#2, at Hoxton Arches). It’s a favourite of mine, and it’s nice to know that it will finally be on display somewhere.
Newbloodart.com was founded in in 2004, and is an online contemporary art gallery that sells original work by selected emerging artists. I have only had my work on there for a short while, and any difficulties I have had with this site are, funnily enough, a direct result of it’s main strength. Although new artists are advised to “take ownership” of their portfolio page, and keep their bios and statements up to date; actually trying to do this can turn into a frustrating process. Every aspect of the site is curated by the owner, Sarah Ryan. She has to approve every addition or amendment to your portfolio details, and selects which of the work submitted is shown.
A quick look at the website will demonstrate why this is a good thing. The artwork on offer is generally of a good standard, and artist’s details are presented clearly, and in a consistent manner, making it easier to browse through the portfolios. I might have found it difficult adapting to no longer having full control over how my work is presented, but that will be the case with any artist/gallery relationship, and the same applies to my relationship with The South Galleries, a bricks-and-mortar gallery. New Blood Art has a proven track record, and clearly has more experience and expertise than myself at finding buyers for Art……. Still, it is hard not being in control.
I often wonder about the the creative process. and how best to optimise my working methods. I have tried to identify the most favourable environmental conditions – the best breakfast , the most suitable background music- and the most effective working practices; but the abandoned and incomplete canvases scattered around my studio are testament to the fact that my methods are neither efficient nor productive.
At any one time, I will usually be working on two or three paintings, and will have at least a dozen half-finished paintings leaning against the walls. What happens is that I have no problems working through the preliminary stages – finalising the composition and setting the tonal values – and then I hit a brick wall. I will set the painting up on the easel as usual, but for some reason my mind will go blank. No amount of staring, or not staring, drinking tea or walking the dog will remedy the situation. I will have no ideas about where to start working on the painting, and it will look to me like the work of another artist. No matter what I do, I can’t avoid this artist’s block. Instead, I just have to regard it as another stage in the creative process – a time for pause, for reflection.
The three paintings that I am working on now are a perfect illustration of how this problem affects my execution of a painting. Painting 1 is my most recent canvas. It’s based on drawings and photos from a sitting some nine months ago. I was pleased with how the painting was developing. I’m reasonably happy with the composition, and I think the poses are interesting to paint. However, when I sat it on my easel yesterday, I felt nothing. I felt no connection with this painting, and was at a loss about where to go with it. It’s facing the wall now. I will take a look at it in a month, and hope I will see it differently.
My time working on painting 2 has been a long hard slog. From a promising start, when I felt very enthusiastic about the poses and composition, I managed to spoil the painting with the finishing glazes. I ended up removing the offending glazes and sanding down the paint surface in order to start afresh. I’m now in the process of applying those final glazes again, but I’m happier with the effect this time around.
Painting 3 is a puzzle. It had become quite tedious working on the figures, and I was very unhappy with the composition. I abandoned this painting months ago, seeing no redeeming features in it. When I stumbled upon it yesterday, whilst looking for another painting, I saw it with fresh eyes, and a genuine enthusiasm. I like the poses, and can’t wait to start working on it again.
Producing a painting, recreating one’s vision upon the canvas, can be a difficult process, involving a real battle with the medium. Although often frustrating, these same challenges are the main attraction of painting. If it were easy and predictable, I don’t think I would want to do it every day.