Painting is, more often than not, a constant stream of frustrations. I’ve been working on a few larger paintings lately (I’ll call it a ‘series’ but the process if far too haphazard and their relationships flimsy for that) and have felt nothing but frustration. Using an inordinate amount of paint, adding and adding and reworking until I’ve absolutely no idea why I bang painting them in the first place.
Today though, I returned to a few smaller canvases and produced a painting using very simple and direct marks that actually meant something to me. No frustrations – I was sure of my intentions and carried them out. Why don’t/can’t I do this with the larger paintings? Self-imposed pressure, that’s why. Lesson learned (for now.) Keep It Simple (Stupid?)
The original purpose of this blog was not to be a blog at all. Talking Painting was to feature a series of artists studio visits, on video and featuring artists’ talking about their work. Very casual, very intimate and hopefully, very interesting. Alas, after a couple of false starts (that’s all it takes for me to lose heart, I too am an artist after all; somewhat fragile) I abandoned the idea of studio visits and, although very briefly toyed with the idea of lapsing into a pro-forma style interview with artists, which has been done many times before, I decided to utilise this web address for the purposes of a blog. Domain names aren’t quite cheap enough to leave dormant, so at least this was a use for it. The blog would be for personal use – although, being sat on the world wide web and viewable by 7 billion people (in theory,) but in reality, one that I was painfully aware of, was that it would be very unlikely that visitors would arrive accidentally. If they did, they would be presented with snippets of what’s been going on in my head lately and would probably not return.
As we (I) move forward, I am considering dedicating this space to critical overviews of exhibitions that I am able to visit. Perhaps I’ll even drag up memories of exhibitions-past and attempt to evoke them with a sense of currentness.
“Untitled (Sky)” Oil on Canvas – 8″ x 10″
The first ‘on canvas’ iteration of the monochrome schematic. The pentimenti creating depth and energy. Unlike the en-plein-air sketches, the studio canvases don’t, as yet have the date and time inscribed. This is something I hope to include in future but I don’t want it to look contrived. This painting was already in motion when I realised it was becoming a Monochrome, so the opportunity for any inscription had passed. Inscriptions, I think, should be applied to the virgin canvas and it may or may not remain visible.