I spent most of the final session of Contemporary Painting Studio making corrections and changes to the largest newspaper collage painting in light of analysing the 'Catenary' paintings of Jasper John .Reading the Paint Surface' of turning source material photos and painting upside down or on their side , I worked initially on a smaller scale copy of the painting from last week
After lunch, I worked into the painting I started in Week 5 , extending the shapes and patterns from out of the collage into the areas around.
Lucinda usually highlights a few contemporary artists each week, this time it was Diana Taylor ( who she'd already mentioned to me in Week 8) and Karl Bielik ( examples below from his website)
I thought the name and paintings looked familiar and so using the search function on my blog, I found his had been one of my favourite paintings at the RA summer exhibition last year.
I'd included the initial collages , photos and painted sketches so I could see how my work has developed. In essence what I've done is to take 1 initial collage and using copies of copies have gradually simplified and enlarged it into something quite different yet the original source is still recognisable.
I've come a long way since my initial panic and indecision with having too many ideas in weeks 1 and 2 .
The breakthroughs came with the move to monochrome ( which I've stuck with but am starting to add a restricted palette of colours ) and in collage .
Then the introduction to using glazes of transparent colour ( and the decision to stick with acrylics rather than move into oil painting as I'd intended)
With my collages and sketches on display in the corridor and not immediately accessible, I worked with printed copies of the collages applied to canvases and then made copies of those paintings which I also worked into !
In week 6 , reunited with my collages , I painted them with glazes and started to prepare a very large newspaper collage to work with .
This was the focus of the last few weeks, the challenge of scaling up marks and how the composition and relationship of shapes changes. After a certain point you have to react to the painting itself although I found it useful to go back to earlier incarnations to work out where I was going wrong.
So what next? I've booked a 10 week class on collage at City Lit starting in January having just scratched the surface on its potential, I want to know more. I had too much going on to commit to a another term of Contemporary Painting Studio ( and it was filled very quickly by those who missed out ) but I've the bonus of a 2 week course 'Painting Studio Time' set up before it starts. I think the time has come for a large painted quilt taking on board the lessons learnt from scaling up.