Category: Experimentation

A more refined version of this large-scale piece is below.  It includes a range of overprints in gold.  This colour is of specific significance to Myanmar and their Buddhist tradition and religious beliefs.

I have also experimented with adding further colours in order to reduce the effect of chiaroscuro and, simultaneously, increase the dramatic effect in the sky area.  This has resulted in the monks being surrounded by action and dynamism in the peripheral parts of the composition.

This arrangement seems to have worked well and introduced a sense of balance and hierarchy to the piece.  The focus is firmly placed on the three characters.

The image below portrays an intermediate stage of the overprinting process.  The work havily relies on contrast and chiaroscuro, bringing all attentiuon to the centre part of the piece.  The monks appear to be positioned behind, in a peaceful and fully lit place.  My intention was to bring them back to the surface and engage them in interaction with the birds.

I have been busy experimenting with a new approach to painting and layering colours. The process started with painting the under image using a rug and large scale brushes. The composition was inspired by the Burmese Monks series. I used large unprimed canvas and started to jot the colour down using expressive movements and gestures. The image begin to grow really rapidly and soon, the overall colour scheme was ready. The second stage was to overprinting the background with a screen, which o developed recently. It portrays a swarm of birds ‘dancing’ around the monks and creating a beautiful flow and rhythm. The printed layer was subsequently watered down with sponges, robbed with dry towels and paper to revel light and the colour, which got trapped underneath.

The entire idea for the new pieces is to experiment with layering of images and colours before making any commitments to the narrative content of the work.

I have included a range of photographs of my experimentation and, at the bottom, a single print of the screen itself.

Mixed media on unprimed canvas.

168 cm x 118 cm

Following a long period of working on small to medium size canvasses, I have got the confidence to approach a large-scale painterly composition. The current size amounts roughly to 4 times A1. This “space” should allow me to explore the painting matter on a much broader front and experiment with integrating a range of media and processes.
The new piece portrays three Burmese monks taking a break from their money collecting duties, while entertaining themselves with a large group of pigeons. My primary sources originate from Yangon in Myanmar. I was undertaking some visual research by recording activities in a remote market area of the city.
There were large numbers of child monks present. Most of their days are spend extorting large amounts of cash from the hard working, fearful and deeply religious market community. They are immaculately dressed in pink robes and sarongs. Simultaneously, they walk bare foot to project an image of poverty and humbleness.
However, the truth is different. They have got daily targets to fill their metals trays with a mixture of coins and bank notes to satisfy the needs and expectations of their superiors.
My creative intention is to disrupt the entrapment in the vacuum of hypnotic repetition of daily routines. This concept will be further articulated through the recording of the washing cycle using a laundrette. I am very much intrigued by the metaphorical ambiguity of the meaning of the cleansing process. It is more than just the removing of every day stains and dirt, and washing off sins and unwanted memories of the past in order to ensure cleanness and purity.
The dynamism of the composition created by the birds has got partially got lost in the process of glazing and overprinting. The screen-printed text contains a collage of remains of my notes and observations from this experience. Perhaps, I need to consider different ways of bringing it back. I have also considered some experimentation with both, my painting and the original video recording.

I have included below, a range of documentary photographs depicting the overall composition and a variety of intriguing detail.

The new idea with gold overprinting seems to have worked very well.  It created a sensation of opulence, celebration and, simultaneously,  increased the overall curiosity in the piece.

The lower image is the initial stage and the top photograph portrays a more resolved version with details in Prussian Blue.

I feel ready to enter the final stage of the development process and initiate a range of quality improvements through drawing on top of the surface, with water soluble pastels.  This should allow me to concentrate on detail and make it more intricate and sensitive.

I will be also able to rebuild and refresh some of the parts, which got lost in the semi-accidental turbulence of printing, washing and glazing.

My creative intentions:

To explore possibilities for visualising the concept of hypnotic repetition, which is a form of a survival mechanism for everyday life.

Visual language:

Through painting, printmaking, experimentation and risk taking, I would like to develop a range of images addressing the idea of suspension in the vacuum of repetition. My focus is on entrapment in mundane routines, which are necessary in order to exist. My work is a vibrant and polychromatic attempt, to discuss the underlying narrative of lives of people, who I have developed a rapport with during my research expeditions.

The project is intended to be a deep, highly subjective and personal reflection on the essence and meaning of our repetitive journey through the ‘ocean’ of time, which is given to us – adventurous and bizarre travel between the boundaries of birth and death.

The strongest aspects of my current work are definitely:

• polychromous and dynamic colour scheme
• the underlying narrative and originality of the lead character
• ambiguity and vibrancy of the composition
• surface quality and textural considerations

My subsequent working focus will be on:

• refreshing detail
• clarification and rebuilding of “whites” in the composition
•  addressing some issues with contrast and organisation of colour stains on the surface.

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.