Free writing. Notes on thinking and doing:
Methods of working - Timeline
· Making marks which felt intuitive to me, responding to the materials and the colour. This resulted in a natural tendency for me to make circular vortex –like marks and compositions.
· Drawing every day for two weeks using a traditional calligraphy pen and in ( an unfamiliar tool which I hoped would disrupt my usual tendencies for drawing practice) Using the blind method working whilst carrying out daily routine activities; watching TV, helping children with homework, taking a tea break etc. Sometimes responding to noises around me but always blind and free of expectation.
· The resulting drawings had a less circular form to them which led me to introduce this line work into the painting practice. Drawing using charcoal and ink in the same way as before and then responding to the marks with paint.
· I then decided on asking others to make marks which I can then respond to. As before using these marks to make compositions. Palette of colours dictated often by the day’s painting for my gallery work and then adding and mixing intuitively. I can see patterns forming. Colour often being light or dark for background. Central points within the support for the focal point.
· Next I decided to use music as a way of making marks. Focusing on language and rhythm. Using these points of interest to guide the medium. At first drawing and then returning to paint alone. This has produced for me the most interesting pieces in terms of sensing the beginnings of loosening my way of working to produce fluid work.
Self reflection
I feel that I am a practice led creative. I use my materials to create both work and areas of theory to develop alongside. Through seminars with Mark I am realizing for the first time how the two can assist each other.
I have disregarded my initial reading referencing action painters and surrealist theories in favour of the texts which have been given to us by Mark and suggestions from Chris. These are more focused on the act of painting/materials. This is where my thinking develops - through making. The seminars regarding process, framework, methodology and practice are helping me to think clearly about why I am doing things and how my practice relates to other artists and theorists.
Moving forward
I think that there may be a place for words which are associated with my making to help me to consolidate, become self aware and analyse my process in order to better understand it. There is a feeling that I need to understand my own inbuilt rules within making in order to break this and discover something new. I may work the words into my work, write separately or voice record as I work.
I am still predominantly working with drawing and oils however I still wish to look at other materials and means of working. I am looking into lithograph, mono printing and collography as possible printing methods. The challenge with print being that it is a very thoughtful process which requires planning therefore the challenge is for me to find ways to apply the intuitive to this very structured process.
Clay is another area of interest for me and I am looking to develop ideas of three dimensional painterly expression of the above moving forward.
In addition I am researching encaustics and how this could be an interesting material to experiment with.
I intend to speak to mark about relevant reading in relation to my research and practice for MA.
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