Untitled Diptych
190 x 300cm
Oil on canvas
Abigail Ellen Jackson

Vertical Blues (2012)
Oil on canvas, 244 x 170 cm
Abigail Ellen Jackson

Progression of painting

Abigail Jackson
Untitled Orange Painting (2012)
Oil on canvas, 300 x 150cm
Abigail Ellen Jackson

Progression of diptych painting: Photo documentation.

Progression of diptych painting- 16/05/2012

Loughborough University Fine Art Degree Show

In the studio, May 2012.

In the studio working on The Sun and Dance (2012)

Untitled (2011)
Oil on Canvas, 244 x 122cm
Abigail Ellen Jackson

The Sun and Dance (2012)
Oil on canvas, 280 x 200cm
Abigail Ellen Jackson

Artist Statement

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.