A new painterly language

Parallel to preparing for the RGS show opening in a couple of days, I have over the past few weeks been exploring new approaches to mark-making and application of paint. For me, starting a new body of work normally involves a pretty thorough process of drawing, preparatory oil studies, material experiments and compositional try-outs. This time, new additions to the vocabulary include flicking paint at the canvas with my index finger, collaging dried bits of paint to the canvas, as well as bringing out texture with spray paints and glazing. All in the hope that, as I begin work on the series of large paintings, these techniques will create even more mysterious and evocative surfaces.

Cutting out a prime fillet of dried oil paint, pulling it off a glass slab, ready to apply.  

 

A brush-mark, temporarily separated from its plane of existence, ready to function as a piece of light falling across a wooden splinter in an ambiguous space. 

 

Paint as collage, very early stages. Watch this space. 

 

Scraping off layers of wet paint with an over-sized palette knife.

 

Purple and white spray paint, very carefully applied at an angle, picking up and exaggerating textural effects.

 

Throwing gloopy bits of oil paint at the canvas, allowing light to be read as a messy substance that pours and splashes into a space. 

 

One of four original observational studies that form the starting point for the painterly interpretations of light. Over the next few months I will be moving into large-scale works, this time spanning around a metre and a half.