Tag: Painting

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.

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.