I’ve focused a lot on my research report this week – I’m hoping that in my research I’m starting to form a plan, not just in terms of the dissertation but in terms of my practice in general. A lot of the ideas I’m coming across in research will definitely inform my future practice – I’m looking forward to finishing the report so that I can go back to creating more practical work and putting my paintings into the context of the viewer, the gaze and the image.
One thing I have started to work on is small collages. A big part of the issue I was having in my large painting was that I was trying to manipulate the image as I worked – I’m not sure if this is the best way to do things, or if it’s a valid part of the process. In some ways I think it creates a sort of detachment, because the focus is no longer on the image or scenario, but on the process of painting and creating a fictional environment. I’ve had a lot of success using collage in the past – I have the security of working from an image and using the paint to replicate/recreate it, but without the pressure of having to essentially ‘make it up as I go along.’
This is a little experiment I’ve been working on this week, again it’s a found image of my mum in her 20s. I find this helps me to work a lot better because it allows me to work objectively, but still with some personal connection.
I like being able to control colour, composition etc in a way isn’t final – like a sketch for a painting but with a bit more insight. The red board behind the paper images is what I plan to paint on – I’m not really sure of why its important yet, but the use of bright, unrealistic colours is something that keeps creeping into my work. I like that strangeness that occurs when an image is real, but not entirely true to life/abstracted in some way. Technically, I think it helps me to see the work as painting rather than copy, I don’t feel the same sort of pressure to get every detail right because there are areas of flat matt colours that add a new dynamic to the work.