Tuesday 21 February 2012

Experiment and 3 destroyed paintings!!

Experimenting with Crimson oil paint and metal lacquer.



(Detail)



Blue 1



Blue2



Destruction 2

Sunday 5 February 2012

Water Colour and Ink on Paper

Dragonfly 1
Water colour and ink on paper


Tiger 1
Water colour and ink on paper

Tiger 2
Water colour and ink on paper


Dragonfly 2
Water colour and ink on paper

Spider 1
Water colour and ink on paper











Friday 3 February 2012

Interesting Print






I was thinking about my subject and how there are so many things I see daily which I would like to paint, then I found this print. It reminded me of some stills from last weeks lecture, I like the repetition in pattern and colour and the way part of the image fades and then become stronger.

Thursday 2 February 2012

More from Cork Street

'Miles from here'


Julio Rondo
Mixed media on paper

Stablemate
Julio Rondo
Mixed media on paper

I like the way in which Julio Rondo has layed different materials to create these large art works. Its interesting that from a distance your eye focus' on the line, taking a closer look reveays layers of fine texture. Line is something I've come back to often in my work, it reminds me of a seris of paintings I made last year. Loosely applied ink or paint over wet paper allows the line to bleed and spread and merge into other colours.



'Sratching the Surface Joining the Dots' - John Keane



Small Perfect Explosion


 Sign from God - 2009
207 x 280cm

Small Perfect Explosion 2


Hindsight - 2009
128 x153cm

These paintings by John Keane have a common thread rather than a theme, most of the paintings refer to the recent events in the middle east, I am interested in how other artist deal with the issues surrounding our contemporary world.
Colour within my own work has been one of my main concern's at present, looking at Keane's paintings automatically gave me a sense that the subject is serious. It also reminds me of Gerhard Richter when he spoke about his painting 'September'; he thought that orange and red seemed to 'glorify' the event. Gerhard went on to remove these colours from the original painting and smeared the canvas with grey. 
I also like the way Keane has used other materials, like wire and metal sheets with holes in, he has pressed them against the wet paint, which has left impressions in the texture of the paint. Again this is someting I am interested in. I've been experimenting with how to apply paint in a different way and getting colour to merge or bleed together. Max Ernst was another painter who used glass pressed againt his paintings, this formed a texture in the paint.


Redfern Gallery - Kurt Jackson












Kurt jackson's paintings have a sense of calm tranquillity about them. Although his reacuring subject is the sea and landscapes, the colours and textures are varied through his paintings. Jackson places found objects, string, rope, shells etc, on to the canvas, the texture they create on the surface of the work contrasts with the brush marks, splashes drips and washes.   
My favourite of his paintings is the one below, I love the watery wash of blue, the deeper colour in the left hand corner and the thin spidery gestures on top of thin washes... this painting has inspired a new set of drawings.


I am interested in the process of painting, and I am interested in why

Wednesday 1 February 2012

Cork Street Galleries


Antistrophe - Toby Ziegler
Oil on aluminium - 280 x 173cm


 Metaplasmus - Toby Ziegler
Oxidised aluminium and timber 200 x 100cm



Toby Zeigler's paintings reminded me of old photographs and distant memories, remade with todays technology. Although I am interested in his method and technique, I think there is a manufactured feel to the paintings. I struggle to stay interested, I'm not sure what the purpose of the circular type disks scattered all over the painting are, but they remind me of when you've been looking at a screen for too long and spots appear in front of your eyes. In the painting 'Antistrophe' I can't actually get beyond the spots, while in 'Metaplasmus' the white spots are more subtle and I can make out the landscapes and buildings.



David Hockney






Derek Johnson
Oil on canvas


Patrice Valota
Wax and pigment on board


Patrice Valota
Wax and pigment on board


Detail

Patrice Valota's paintings are stunning, he uses wax, pigment and a blowtorch to create these large paintings. In places the surface has a smooth shiny texture and the light reflects upon it, other parts have been worked into with a knife and show the way in which the pigment is bleeding into the wax.



Edgar Degas
Bronze




Baccus Barleycorn - Edith Simon
Scapel painting


Night Tide - Luke Elwes


Detail

Detail