I’m coming in determined to ‘get it’. It’s hard to think differently, but I try to apply yesterday’s lessons to today’s Super-Wet-on-Super-Wet exercise.
Today we work on a soaked sheet of paper in an extreme aspect ratio. The style and the genre both change as we work. To begin with, the colours are moving and bleeding at will; both the artist’s will and the paintings’ very own free will. Later on, the dehydrating paint becomes less nomadic and the work becomes less explorative and more figurative.
Following the lessons so far, and with a generous amount of assistance from the tutor, I try to keep the eye moving between compositional elements – including colour and tone. Even as I describe this I realise that I echoed colour and light (lifting colour to reveal paper) but failed to echo the graphite lines in the sky and rain. I wonder if it’s too late?…
3.2 We work on a “Georgia O’Keefe model” – and it’s about starting with blocking-in shapes. I do this and then baulk at the second fence, the requirement to place blobs all over it. Sorry, couldn’t get started,.. again. So I end up with this:
3.3 Next we consider having the edges of the regions defined by running a blob of paint across the page to get an organic randomness, and to ‘let go of control’.
3.4 finally we finish off the day with a quick-shot three-minute landscape in as few brushstrokes as possible:
Through the day we discussed ways to get texture:
– Prepare using candle wax, water (if it’s too dry) or a hairdryer (if it’s too wet), or masking fluid or tape;
– Add stuff in the paint. Salt. Porous ‘gravel’ to be broken off later.
– Apply using stencils or mask with splatter or using a serrated knife or tiling applicator, or cloth, or by printing off an intermediary block;
– Remove using a grater, the same tools as above, or a knife, or even a brush wet or dry;