Evolution of Experimental Works
At the beginning of this week there was torrential rain which flooded my studio. Thankfully most of my work was fine, although I did have to wait most of the week for it to be dry enough to begin working again. I think the break from the studio was actually beneficial. It gave me the opportunity to look at the experiments with fresh eyes. I found that the hessian suck on ply tended to make the paintings look stiff and unnatural, and the hessian glued to paper created the most malleable surface. I also found that when hessian is stuck to the paper and then stained, the hessian becomes mostly saturated and so it makes for a friendlier surface to paint on. Those works allowed for sharper lines, and used less stain. For that reason, I am going to explore further down that avenue.
Here are some things I want to explore:
-Which colours suit the natural colour of hessian, and which don't?
-How does sticking different sized bits of hessian onto the newsprint impact the painting?
-What scale/s of work feel right for the images being painted?
-Should I stick to a limited colour pallet?
By the end of next week, it is my goal to make headway answering all these questions. I also want to challenge myself by reading more of Timothy Mortons's 'Hyperobjects', which I have started but have been procrastinating finishing. The way it's written reminds me of gonzo, as a lot of the writers personality shines through which makes for a quirky read. Once I finish reading it, my goal is to write a short review. And now, since i've written that down here, I feel accountable for actually reading and writing about 'Hyperobjects'. I hope by doing that, i'll gain more insight to how my own paintings could relate to 'Hyperobjects' and the anthropocene/capitaloscene.