After working on a relatively small scale, it was nice to get back to developing some large canvases. I have adapted some of the visual language from the smaller compositional tests and tried to consider the overall balance of elements, not only across each individual canvas, but across the group of works. I'm looking forward to testing these new pieces alongside the others in a clean space. It will be interesting to see if they do work as a unified whole. At the moment, I'm enjoying the way that the photographic elements are working. The illusion of texture and dimension within the flat plane, the play of formal qualities between the individual shapes and even the slight bleed of the inks onto the canvas. This bleeding has made me consider alternative ways of staining the raw canvas and how staining may be the solution to my continued uneasiness regarding the negative spaces.
In an attempt to develop compositional plans, I decided to return to the screen prints. Collaging with a mixture of papers, I wanted to test various levels of translucence in the same way as I had with the inks. I've realised that in working with these elements, I have begun to develop a type of visual code with the various shapes and marks.
Working with a piece of glass which had been formed over sand, the detritus on the studio floor and a sequence of small lighting units, I was able to create these images. I wanted to explore the potential of the glass object and its contrasting surfaces. The surface which had been in contact with the sand while cooling, had taken on a texture not unlike the surface of my own work. The other side, by contrast, was extremely smooth and reflective. The details, compositional and colour elements at play here have an aesthetic relationship to the gelatin prints as well as the
It was great to see the final outcomes form the Wear Ware project. I really like the strong lines in my piece which was developed and blown by Jeff Sarmiento (www.jefferysarmiento.co.uk). As a group they reflect the diverse rage of ideas from the day. Each of the pieces created in the workshop were highly individual, displaying a range of bold colours, patterns and approaches.
I've been considering the potential of layering the works in different ways. Having some space to manoeuvre the pieces was useful and incorporating the raw photographs has suggested some new possibilities to me. The potential of bring these layers out into three dimensional space via physical forms will need further development. I'm hoping to create some fully sculptural pieces in order to extending these ideas into installation.
Returning to gelatin printing - after initial explorations and seeing potential in the process, I wanted to look for further connections to my painting work. With these new pieces I have tried to focus more upon separating the elements and creating distinct forms within the surface. The sharp edges of the forms create contrast with the underlying, unifying texture. I continue to be interested in how this technique retains a memory of each step within the process. Each wrinkle, dent, scar and line preserved despite the build up of layers. I'd like to see how these could be developed on a larger scale and with a more varied pallet.