Can’t believe it’s been so long since I posted on the blog, partly it’s because I’m working on 3D pieces that take a long time to start to look like anything. At the same time, I need to get a sense of spontaneity into them that reflects my processes in painting, I want the development of a sculpture to represent its making history, rather than to be disguised as it may be if only a technical means to an end. But I am learning technique at the same time as image-making.
For now, I can post a painting and related small sculpture, inspired by a mummy I saw in Madrid, in the Museo de America. The painting is gouache and oilpastel. The 3D piece is a relief made of thick card, overlaid with fabric and paper collage. It’s fine, but doesn’t quite do what I intended, so more exploring of medium and method needed.
For most of this year I had the sense of floundering somewhat to find the purpose of my work and connections between different pieces. Now I feel like I have a bit more of a clue. Strangely it’s associated with the evenings getting darker, since I Ilve in a seaside town, it’s hard not to be distracted by a long sunny summer. Currently there is more impulse to work and the confidence to work randomly if necessary, especially when the venture into 3D work uses up a lot of time. For example, the cardboard/fabric figures in the last post are still taking shape quite slowly, overcoming (trying to overcome) some technical problems.
Meanwhile, another idea occurred about the strange photo of my dad in the car. The most recent version is cardboard cutouts painted in gouache, two pieces. They could be displayed as low relief, or as hanging sections
And I’ve been obsessing with faces. There is a sheet of watercolour faces, but apparently my scanner can’t read the whole thing, so this row is representative.And a sheet of potato cuts. Some artist friends recently reminded me of this simple technique, which as it turns out is not so simple. Doing this experimental set has explained how to take them forward.