Rather than 'train stitching' , on the way to class at City Lit I was updating my sketchbook/notebook and had prepared a 'to do' list of what I wanted to achieve. This meant I was already prepared for filling in the mid-course progress review form for the second half of the course.
After putting a coat of white acrylic over the newspaper collage I did last week. I put some transparent colour glazes( with W&N paints and Golden soft gel) over the collages I'd primed with PVA . I used raw sienna , burnt umber and a grey mixed with burnt umber and ultramarine. I could have done with using less of the gel, they're a bit shiny but then so are the bits of magazine and I'm loving the retention of brushmarks with this technique.
Another task I'd listed was to look at the marks and colours in the collages and see if I could replicate those effects in paint ( a lot harder than it looks!)
Over coffee there was discussions about pro's /cons of doing a practice based MA . During my mentoring session Christine had suggested I would benefit from this in tackling larger projects , lateral thinking and networking but I wasn't sure I was ready for such a big commitment , particularly that would I put myself under too much stress with my tendency towards unachievable high standards!
Gave me food for thought though.
After lunch we had a look at a selection of the artists that we'd each identified as being of interest/influence/ inspiration in our work ( some of whom were new to me)
Henrietta Hoyer -Millar ( at Lang and Ryle)
Basquiat ( Barbican ) for fluidity, composition , text as part of image
Erik Foss - brushstrokes
Pierre Soulages ( my choice) black , colour showing through brushmarks ( led onto comparison with Robert Motherwell)
Kaye Donachie ( Maureen Paley Gallery) Led onto discussion about visiting galleries - search for what's on using 'Art Rabbit' .
Jasper Johns ( Royal Academy) I still haven't got to this exhibition despite it being one of the reasons I became a member as I was so inspired by his work at the BM print exhibition
I'd primed several section of old quilts with gesso during the week , and had bought a couple in with me to use as backgrounds in paintings.
However reviewing progress with Lucinda and looking at results from the mornings work including the now dry painted newspaper collage ( below) I was going to work on , once composition format proportions were taken into account, I really wouldn't be working much bigger than my original paintings!
So she brought me a roll of 150cm width paper and with some help ( it kept curling up) taped a large piece to the screen easel .
I was last to pack up but thanks to a borrowed hairdryer , it was dry enough to roll up again ready for painting next week!
Afterwards I headed to Westminster Reference Library to pick up my copy of 'What is Art', catch up with some friends I hadn't seen for a long time and hear a fascinating talk from the book's author Robert Good on how it came into being.
I was chortling to myself reading it on the train coming home but that might have been the wine at the reception not to mention the mulled wine at Cass Arts where I stocked up with 2 inch masking tape in their Xmas sale....
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