Imagery used at the beginning of the year ... places I have been and the things I saw. Some of these things have worked themselves directly into the paintings, others are yet to be used.
Paintings from the beginning of the year...
These paintings have begun to gather an airtight quality which is suffocating the subject matter. It will need to paint in a more fluid manner in order to inject some kind of life into the still spaces...
The painting developed very quickly form the drawings. The process of drawing has been more connected to my studio practice than ever before. The freer the drawings the faster the paintings. They are more connected that ever within the are making process.
The drawings were made in 5 mins and allowed for me to tackle the subject matter without overloading it with detail. I prefer the drawings to the final painting in the end as they are more spontaneous.
'Who Put That There?' (Above) Is the first painting in which I decided to Invert the painting and paint on the inside of the frame. This comes out of wanting to make the paintings seem more like objects on the one hand and to also expand the the dimensional space of the rooms I am painting.
Shows a quiet stillness in his paintings of humble domestic objects. Its seems as though the subject matter of the vases themselves are merely a way in which to meditate on the way in which they should be painted. The repetition of the objects means that they become background to the real business of Morandi's paintings which is to create harmony within this humble composition. By Striping the work of all the markers of high art i.e the human figure, impressive vibrant brush work, instead the viewer is forced to appreciate its modesty.
This painting, Is in some ways a response to Morandi. I wanted to see what I could do with the familiar objects I found around my house. Keeping to a muted pallet allowed me to consider how best to express the forms without overwhelming the simple composition. I do not feel like I was able to achieve depth within this painting and perhaps if I were to paint this composition again I would do it entirely from life.
is a painter that I have only been aware of for the last year, but his work felt so familiar to me when I first saw it. He manages to combine very expressive, stylised marks with a a sharp clean palette, creating modern and fresh imagery of an ancient subject matter: the mountains.
Small, Large, Subject or Symbol?
The Scale of my work very much depends on the meaning of the painting. When painting on a small scale, the objets (furniture, found objects) become the subject of the work. They are the soul focus and much alike a portrait my aim in making the smaller work, is to portray the interior meaning of that singular object.
When the paintings are larger the objects within the generic rooms, become symbols rather than a portrayal of the object itself.
Because of this, The manner in which I make marks loosens up considerably because the symbol requires less detail , just by insinuating that there is a domestic space the viewers is able to use their own understanding of domesticity as colour and shape within the painting.
The small paintings are like traditional miniatures in the way that they try to convey to the viewer a personal portrait of the singular object, thereby creating a connection to this. I these works the space feels as though it has been or should be inhabited by the human figure. I think this is why i tend to paint carefully and with more realism.
The simplicity used in the larger paintings, allows for the viewer to use their understanding of the space. To me these works appear sentimental and closer to a memory of a room. I think that this is due partially to the washed out oils I have used. By layering images on top of one another, I am able to create a kind of disintegration of the scene .
The chairs seem to be a reoccurring theme within the paintings. they are there in place of people and by inferring a human beings presence it has more potency and creates more questions, than if the person was seated in the chair. The viewer is left thinking 'what has happened here?' And 'Who inhabited this space?'...
In future paintings I hope to lean in to this sense of absence and mystery, perhaps by populating the scenes with more furniture and the other paraphernalia of peoples daily lives.
Karen Mamma Andersson
Andersson's paintings seem to appear and disintegrate at the same time. They invoke memories ones own familiar domestic spaces.n They are warm and inviting and yet there feels as if there is something wrong.
Bomb- Artist Conversation
'Mamma Andersson depicts interiors, like memory, are always misleading, indeterminate, destinations between memory and hallucination, interior and exterior are blurred.'
Though I am not hugely keen on this painting, especially because of the figure in the painting, which I feel was not needed, I do thin that the mark making is closer to the fluidity that I have been looking for within the other paintings. The wash like layering of colour makes it look like a under developed photograph or a water soaked memory...
Amsterdam & Rijks museum
Dutch painting has such a clear and pure use of light. I think this really different to the english and german style of painting which seems to favour heavier use of paint. The modest of the art is what struck me most. This post reformation understatement means that the paintings retain their freshness.
The only painter how really bucks this clarity is Rembrandt, who is use of paint makes his figures sizzle of the canvas. They appear more real due to the unflinching attention to the subjects imperfections.
Grass & Green
Thompson' Gallery Mayfair... PPD
Drawing & Life Drawing
What a difference a marks makes...
Set up of degree show...
Mamma Karen Andersson
Segantini – Segantini (2011)
Mamma Andersson – Dog Days (2012)
Edward Said – Culture & imperialism (1993)
Edward Said – Out of Place (1999)
Frank Auerbach – Speaking and Painting (2015)
George Shaw - Sky and Unseen Eye (2011)
George Shaw – My Back To Nature (2016)
Heon, L. S. (2001) Mona Hatoum: Domestic Disturbance. Massachusetts: MASS MoCA.
Said, E. W. (1998) Out of Place. 2nd Edition. London: Granta.
Said, E. W. (2000) Mona Hatoum: The Entire World as a Foreign Land. London: Tate Gallery publishing.
Sennett, R. (2011) The Foreigner: Two Essays on Exile. London: Notting Hill Editions Ltd.
Said, E. W. (2002) Reflections on Exile and Other Essays. Cambridge, MA: Harvard University Press.
Mona Hatoum. (2005), Illuminations.
George Shaw for the guardian https://www.youtube.com/watch?v=P_9gmfibNgc
George Shaw https://www.youtube.com/watch?v=R4X9lxIDPMQ