Making Progress With Blasting Paintings
I have just overprinted these images with yellow and than, partially, with orange. Subsequently, all ink-work was blasted off with a jet wash.
The cold (in blue) underpainting has started to bleed through the covering layers bringing hope to of warm light. The continuing layers indicate the experience of waiting.
Everything is wet, smudged and dribbling with diluted ink.
Blasting of Paintings 3
I have become very intrigued by the process of overprinting a painterly background. Screen printing technique allows me to manipulate the matrix in order to control both the creation of a new composition and the meaning achieved. This is done through repetition and the choice of colours in relation to the background as well as the other prints in the existing superimposure.
This effect if subsequently manipulated further through water jet washing and blasting of the wet overprints. This process gives me much less control. It is quite violent and spontaneous. The ink splashes all over the spray booth. Additionally, a range of further effects are achieved through dripping of water and the position of the actual painting during the drying stage.
My creative intention is to continue with this process until I reach the anticipated level of complexity and interaction between individual layers.
As stated in my project proposal, my aim is to discuss the dynamics of a period of 60 seconds of waiting for something to change and happen. Perhaps, I will try to repeat this process 60 times. The supposedly pointless process of over printing and blasting away with a water jet. I feel like I am making progress in terms of establishing a framework for the creative process and also with my methodology.
Sixty interventions and “changes” to the image, which are erased as if nothing has ever happened. The memory of the surface implies something different. Sensitivity of marks and subtlety of this process is something I would like to explore further.
Blasting of Paintings 2
Blasting of Paintings
Dreaming About A Bottle of Milk Part 2
Dreaming About A Bottle of Milk
The idea for this type of experimentation came through attempting to portray and question the cost of a bottle of milk in Haiti.
4-pint bottle of milk = $16
Average daily family income = $1
I have substantially enlarged images of a milk bottle from a supermarket in Petion Ville (expensive district just outside Port-au-Prince). These enlargements were later manipulated and collaged to create an A1 size silk screen.
When photographing images on the surface of the screen, I was trying to capture their ghostly and ephemeral feel. I experimented with back lighting in order to make them look very airy, distant and cloud like. My creative intention was to use these effects as a metaphor for the affordability of this basic product, which is totally out of reach for the typical family.
The dragging of the ink across the surface of the screen implies the brutality and harshness of existence. The colours are distant and have non-physical properties. They appear to be out there, far beyond being touchable and obtainable.
Furthermore, the process of screen printing is alternated with pressure hosing of newly developed images. They are simply washed and blasted away, just before they are given a chance to dry, become permanent and materialise.
My intention was to replicate the process of repetition of slave- like labour – despite all efforts – there is no outcome, no change and no improvement. Purely, a visual and non-descriptive example of Sisyphus works. The work is abstract and the only recognisable element is the partially remaining milk label.
The white ink resembles the milk itself. The blue creates a sense of distance. The creases and textures visualise the hardship. There is also a bizarre similarity to water marks on bank notes. Finally, the use of bar-codes indicates accountability and commercialisation of our contemporary existence.
I would like to continue with this process of experimentation and sandwiching further layers of print and colour. I will also repeatedly wash them off the surface. I am curious about the extent and stretching of this process.
Pop-Up Show, Camberwell College of Art, 11.12.2018 at 4.30 p. m.
The show looks very diverse and exciting. It is such a shame that I was not able to be there for the opening. I also wanted to help with the setting up of the display. However, I was able to see some work by other students. I really like the opportunity to understand the creative practice of others. There was a good channel of communication via Instagram with regular updates on progress and development. This gave me a general idea of what type of art is being produced by my peers on the course.
My submission was an animation; an integration of paintings and screen shots from What’s App messages with background sound.
I am really looking forward to the low residency course in February!
Four images of my work on display are below:
https://www.flickr.com/photos/jonathankearney/46742521641/in/album-72157675578486497/
https://www.flickr.com/photos/jonathankearney/31800929357/in/album-72157675578486497/
https://www.flickr.com/photos/jonathankearney/31800928497/in/album-72157675578486497/
https://www.flickr.com/photos/jonathankearney/45826920125/in/album-72157675578486497/
Why Are You Coming Back So Soon…
I have just submitted the following video for a pop up exhibition.
This experimental video is of a series of recently created paintings. The inspiration comes from my experiences in Haiti. I gathered a wide range of primary sources and photographs evidencing my observations and responses to them. The essence of this work is to contradict the rhythm of the painterly process and disturb it with emotional drama inflicted by a long string of messages begging for help and financial assistance. The background narrative – a sexy female voice of a Haitian woman – totally contradicts the drama of the entire situation. She appears to be oblivious to poverty and human struggling. She makes references to her country and the pride of private people. Her vagueness is overwhelming. The juxtapositioning of the image, the colour of WhatsApp messages and the commentary evokes a totally unreal opposition and clash. It simply etches the intrinsic drama, which is related to the experience of being there and seeing ‘things’. This is so strange and surreal.
Subsequently, I have booked another trip to go back there at Christmas to revisit the places and refresh my contacts again.
Courful visuals, painterly landscapes, intriguing female voice contrasted with the seriousness of dramatic messages asking for help. I will continue to reflect on this video composition throughout both, the festive season and the forthcoming trip. I am so full of anxiety and fear.
I have also started to feel the impact of ‘reisefieber’ on my well being and my performance at work.
What does the future hold?
Nothing is certain and no one knows.
Recent Update To Seconds 7 & 7
Waiting For Something To Happen.
I have made further progress with proposals for the last two seconds: 7 & 8.
While layering image transfers and varnishing surfaces in-between with watered down PVA glue, I have developed the idea of continuously applying 60 layers of related imagery onto the surface while thoroughly documenting each stage. Some intervals are going to be, perhaps, developed further through the use of video and blending.
I have also recently received a bizarre and laconic sound message. The idea is to use this recording as audio track to support those experimentations.
Photographing the work below was not easy. I had to experiment with several lighting techniques, while documenting the work in progress in the photographic studio.
There are some contact sheets below, which visualise the entire process.
60 seconds equals 60 layers – only 1 minute of waiting. Waiting is used as a metaphor here. The person who is waiting and trapped in the sphere of dreams and hopes is very predictable and safe. Action and response are much more dangerous. They both require bravery and facing failure and disappointment. They require ideas and energy.
Waiting is the new state of being. Waiting for something to happen and change life for better. Waiting, which is passive and effortless, withdrawn; dreaming about change.
On the other hand, waiting can be associated with emotional destress and boredom. This, in turn, can lead to a life of crime and deviation. When one waits for too long, greed becomes the only option and the ultimate desire.
Seconds 7 & 8.
I have tried to document the process of developing a set of recent painting ideas for seconds 7 and 8. I have experimented with layering and using a large number of glazes, robbings and image transfers. The main focus is on the revealing and distracting the surface in order to achieve an incredible depth to the hue of colours, which sound with harmonious melody. I will continue to update this post as new developments take place in terms of making progress with the act of painting and discussing my concepts further, using video manipulations and editing.
HYPNOTIC REPETITION 