Document
This unit of practice continued with the previous method of working, collage plus sketching. I reflected on the fact that the time I spent on sketching was actually quite random, basically drawing one or two and then starting to transfer them to the canvas, the consequence of this was that I would waste time sketching a place over and over again, like the middle area in my big painting, which I revised for a long time. So after that I make as many sketches as possible, try different colours, compositions and pick the one I want to transfer to canvas the most.
Artist Research
I liked Peter doig's paintings depicting the bathe and the lion series, and shown here are doig's sketches for both series. doig was very keen on painting lions, and in Trinidad you would often see lions - not real lions, but pictures of lions - the Lion of Judah, which was a symbol, almost like a symbol of Christ; it was painted on the walls and on the T-shirt on them, and it's important to Rastafarians. It's an important element that is relevant to the people. doig made a lot of different sketches for this, and each one is a little bit different, and one can feel the ease with which the artist made these drawings
This set of drawings is a series of blood paintings by Antony Gormley. Gormley's early blood paintings were all painted with his own blood. Later, he started using the blood of hare and deer. which separates, pools, dries and coagulates in its own way. Thinking of the body as both the source of an expanded field but also its confluence is what these works interrogate, but they also evoke embodiment as a process, an open place in space where there is no doing but a lot of being. These traces of the body are caught in suspension as if in a web. The tension between web and delta is pertinent, both to the way the drawings are made, but also in how they make us think of, with and in the material of life.
The cases of the last two groups of artists are ones that I have recently begun to review, and in reading these works, their commonality is obvious; they are both based on a large number of attempts at the same content, and these attempts include the choice of media materials, composition, and the adjustment of colours. But as a whole, the tone of these drafts is very uniform. On the other hand, my own attitude towards sketching is rather casual, especially in the use of different media and the number of sketches, which are all very lacking. So I decided to slow down and spend more time on the preliminary work rather than rushing to the canvas.Here you can see me experimenting with a mixture of acrylics, oils and pencils on paper for the sketches, trying as many different colours as possible for the compositions, and collaging different elements, which I really enjoy.
untitled, oil acrylic and charcoal on canvas, 24x18cm
untitled, oil acrylic and charcoal on canvas, 30x40cm
This one is a new series I've been working on recently, where I've been experimenting with applying paint to foam paper and transferring it to canvas. However, the technical as well as theoretical basis of this method is not mature at the moment and it is still in an experimental stage.
REFERENCE:
Blood field – drawing series – Antony Gormley (no date) – Drawing Series – Antony Gormley. Available at: https://www.antonygormley.com/works/drawing/series/blood-field (Accessed: 01 November 2023).
I am never bored with painting: Peter Doig, interview (no date) Michael Werner Gallery. Available at: https://www.michaelwerner.com/news/i-am-never-bored-with-painting-peter-doig-interview (Accessed: 01 November 2023).