The work explores
formalism as a subject; the main concerns being colour, mark making,
composition, aesthetic value and the materiality of paint. The work aims to
visually stimulate and engage the viewer through formal aspects.
The
paintings are developed through improvisation, and are built up with a series
of spontaneous, organic marks. Some areas are left uncovered so only the
unified ground colour is visible beneath, which results in an interesting
variation of textures on the surface. The flat washes of colour help to balance the composition
whilst giving greater emphasis to the directional marks that intentionally
guide the viewer’s eye around the piece.
The compositional
elements of the pieces are intrinsic, and although the compositions are not
premeditated, the combinations of active and passive areas within the pieces
are important factors to the work. As flat passive areas tend to dry quicker,
there is also an element of wet and dry textures combined at one time which
creates a rich texture and lustre on the surface. The marks are expressive and
varied in size and form as the implements used are changed frequently during
the process.
The focus on
materiality means that the marks aren’t over worked and instead are made with a
single gesture. This ensures the marks appear fresh and energetic, whilst also
contributing to the playful nature of the paintings. Using oil allows for
manipulation days after application which is necessary for correcting
compositional imbalances. It also allows
for a wide range of consistencies and textures through the addition of wax,
linseed oil and turpentine.
To ensure
the compositions are balanced, the progression of the paintings is documented
and photographed during the process to determine if the paintings are becoming
overworked or unbalanced. Additionally, photographs of the pieces are cut up
and reassembled into new compositions to allow for reflection and if necessary,
correction.
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