CC: I’ve looked through the works you sent - are they all recent?
JE: Yes the images are all recent. I intended to exhibit them at Leadworks. They are not complete but represent progress to date quite well
CC: I asked because they seemed quite familiar - and obviously relate to the previous ones we spoke about...
CC: that said, there is to be a slight change of emphasis - previously the images seemed 'hard-won', as if 'stolen from' the process, or excavated, whereas these appear more in control..?
JE: Yes that is true. Since I last saw you I have been working on clay panels, encaustics and 3d forms. I have returned to painting on traditional supports now although these are on canvas and birch. Previous ones were on card.
Process is evolving, I have been coming back to these over a few days/weeks rather than the instant approach from before.
Colour is becoming an interesting part of the work. I have realized how important it is to me. Also aesthetics. It is difficult to work with colour blindly, there is a unique relationship linking to aesthetics between artist and medium/process which I don’t want to ignore. I don't want to make ugly paintings if that makes sense.
CC: yes that makes sense, and yet compared to your more conventional landscapes some would see the abstract works as 'uglier' at least - because they are prepared to risk more
CC: you almost have to be prepared to make ugly work if necessary (it draws in the question of aesthetics clearly...)
CC:I find this new set a little more orthodox - there is evidence in the mark-making that you know what you are about, whereas previously they were bright with a sense of discovery...
Do you feel like this about them (are they less 'urgent'?)
JE: There is definitely an aesthetic importance for me. I don't even show people the work which I feel doesn't work. It says in the studio. It makes it seem that everything is this way (the work I mean). But it's more about the selection process maybe?
JE: On the other point yes maybe. I hadn't thought of that. I guess I am getting familiar with what I am doing. Maybe this shows. Is that a good thing or not?
CC:neither good nor bad - just what tends to happen to artists in cycles - new discovery - energetic making - slower, more knowing making - calm reflection - new discovery etc etc
CC: however, in terms of the MA, perhaps it signifies the need for a new challenge (from outside of the paintings) in the process or concept?
JE: Totally agree...
JE: I still feel excited about this work. In my mind there is so much more to explore. Everything is a lesson. I don't know where it is leading and for me this is good. I make work that has an end result/goal in mind for my gallery work. This work is fresh and without expectation.
JE: In that respect I have been reading much more. The areas of research are broad and I am unsure of direction. I am looking at using this time to prepare for my essay. This essay will be directly linking my making and thinking.
JE: After assessment and chatting to Mark I had also planned to bring in another element to my work. I was using found objects and walking as a way of gathering visual information intuitively. May have to rethink now?
CC: yes walking may be an issue but virtual walks are always possible - perhaps Sebald's Rings of Saturn might be of use there..?
CC: yes they are very appropriate - also there's Rebecca Solnitt's A Field Guide to Getting Lost
JE: Okay, thank you I will look at that.
JE:I think that I am moving away from trying to work entirely intuitively. I have 'broken' my usual tendencies to a degree and feel like I need to bring in something additional.
JE: Also very interested in the aesthetic relationship to visual/art, not just my work but looking in general. Recent visits to galleries have raised questions on this. Really don't want to go down the sublime route, any thoughts? See what I mean about lots of directions!
CC: The 'sublime route' sounds inviting! But I absolutely get what you mean - although I think there is a sense of the sublime in areas of the works you sent.
CC: Fighting against the sublime tendency perhaps provides a useful tension for you in the process?
JE: I need to look at this and think about it a little more. Its strange how things come out in your work/thinking even when you are trying to move away or put aside something. My Ba was this direction. Dissertation etc. Maybe it is important
CC:these recent images have an Existential or Ontological quality so inevitably will touch upon the sublime here and there...
more to follow...
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