Category: Critical Analysis

The image below contains a range of initial overprints in gold.

The One Legged Player is totally on the task.  Her appearance looks frivolous and theatrical to distract from her determination and the fact that she cannot afford to miss any shots.  Her outwards image portrays glamour and fame, but the reality is diametrically different.  The new broken layers in deep and cerulean blue, echo the colour of the lining on the pool table.  These have also enhanced the overall colour scheme and its polychromatic character.

The way, in which, I overprinted the under image indicates the complexity of the situation and implies that a greater narrative is hidden under the camouflaging layers.

On reflection, I need to, through glazing, washing and blending, reduce the severity of the cloud like division between the central image and the surrounding overprints.

I also feel that the piece requires a more opulent use of gold to reinforce her true motives. Gold is of symbolic value here as it drives her energy and inspiration to win.

I have developed a pattern consisting of petals and flowers.  This is to enhance the feel of celebration of both, the performance and the location.  The pattern has been dynamically printed on top of the under-image in order to create a sense of busyness and extend the redness of the light and space.

The next step will be to continue using the screen while extending the colour range and perhaps using some deep blues to echo the tone of the pool table lining.

The idea is to develop a strong focus of the One Legged Player, frozen in a stretched position, suspended in the vacuum of repetition.  Every shot is executed in an identical posed pose in a hope to attract attention and increase the stakes, hence maximise profits.

I am hesitant to come to conclusions that there is something repulsive about it.  The first impressions of wonder and curiosity are replaced with laughter and astonishment.

The performance continues regardless.

I have reached a point of saturation.  The composition is dynamic and vibrant, ambiguous and full of intriguing detail.  The painted and drawn over-layers focus on revealing light in order to increase drama in the work.  The driver becomes almost secondary.  The bustling components have totally overwhelmed his importance.  Nothing ever changes.

I spent the entire morning exploring possibilities for development.  The idea was to establish a meaningful plan and introduce a range of quality improvements to the colour arrangement and the overall scheme.

The image needed something warmer, perhaps contrasting, in order to introduce a source of soft light within the composition.  I wanted to achieve this through continuous printing on top of a semi wet surface of existing colour and sponging of the excess of patterns.

This seems to have an impact on how the colour behave with reference to my creative intentions.  The drive is totally suspended in vacuum and oblivious to his surroundings.  He is focused on a tedious task of sorting bits and bobs, which may be useful in case of an unexpected breakdown.

I feel that the composition, at this stage, has more impact through layering and the use of watered down transparencies.

The final stage will involve careful highlighting and building up detail using water soluble pastels.

I have initiated a process of overprinting the already established under image. To reflect the overwhelming presence of insects in the South of Myanmar, I continued to work with the screen portraying a swarm of bees. The printing started with a number of layers in rich and vibrant blues. This imagery was subsequently washed off with sponges and a powerful water jet.  Due to the hight temperature in the workshop, I had to aid this with robbing off the ink with hard brushes.

The second layer involved a range of strokes using a dynamic crimson alizarin based colour. I used both the screen and just a squeegee to drag the ink across. A careful process of removing the glaze followed in preparation for the next stage of partial overprinting and glazing.

Following a completion of this stage, I plan to return to painting with small brushes and using water solvable crayons in order to refresh some important elements of the composition and introduce highlights to liven the entire colour scheme.

The refinement process continuous.

I have move forward with my project. This is just a preview of the first stage of my new piece. It portrays a coach driver in preparation for leaving Kawthoung for a 20 hour long journey to Myiek. The road is terrible and unpredictable. His old coach must be in a top condition before the passengers are allowed to board.

The driver looks very tired and substantially overweight. He spends his life driving his coach between those two distant cities in Myanmar.

In response to my discussions concerned with a range of ethical issues in my previous work, I have decided to select a rear view composition, my intention is to capture the character of the person but avoid direct recognition.

The next steps of the painting process will include glazing and overprinting. More developments are due to come soon.