Studio Diary: 22/02

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The painting surface is a much more sparsely populated space with a more disciplined application of pigment. The tar-like black enamel paint (often applied using a turkey baster) pools onto, and bleeds into the un-primed canvas creating rich variations in texture and mark. Pollock’s wife, and fellow abstract painter Lee Krasner described these pieces as ‘painting with the immediacy of drawing… a new category’, a fitting analogy that closely captures the paintings direct and transient nature.
Painting with the immediacy of drawing: 15th March 2016

22/02/17
Painting with the immediacy of drawing:

There are some interesting elements arising from the continuous exploration and development of the ‘synthesis studies’:
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Research Observations: chance vs accident

 

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For a long time now I have identified in myself a predisposition to get easily sidetracked and distracted, a penchant perhaps to intellectually ‘wonder off’. A habit I have long since been aware of, and indeed referenced numerous times in new year resolutions, (see my Continue reading

Studio diary: 20/02

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Painting offers a way of working through an idea. Especially when working through a monochromatic palette without the distraction of colour. Even mindless painting without a clear agenda or goal insight will often generate something poignant or worthy of further exploration. 11th January 2017

I have long since admired Drawing’s immediate nature, Continue reading

M50 Collaboration: Joan Miro v Andy Warhol #3

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December 15th 2014: On my first visit to M50: Shanghai’s contemporary Art district, I spotted an intriguing developing collaboration. Moganshan Road, the main approach to M50 is home to a constantly evolving graffiti wall. The wall consists of layers upon layers of graffiti work that have built up over the years, sometimes with the work completely obliterating underlying layers, and sometimes consisting of integrated layers – resulting in intriguing collaborations. Continue reading