Documentation: 13/11/13 – A foray into Oil Painting

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I have grown tired of the sculptures, and have begun painting again. I looked back to the preliminary paintings I did for my sculptures, whilst combining an emotional response to the moment of an embrace, in which we are protected from the chaos and upset of our lives. I began with some base backgrounds; often crafted from things found around my space, in order to craft something chaotic and/or dark, in order to juxtapose a calming, expressive embrace upon it. The first was the beginning of this train of thought, and I do not like it at all, yet the second one is most likely my favourite. The way that the flesh of the humans seems to be de-materialising away from the surface of the canvas, as if they are falling apart into the maelstrom of their life, yet can still retain their embrace by clinging to one another. It’s a fascinating concept, much like the ideas of ‘mortal coils’ (which I will return too later).

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The next set Painting I crafted was one that consisted of a lone figure, sitting and clutching himself. It was more a foray into practising y painting once more, but I had the idea to pour blackened turpentine over it, just to see what would happen to the paint; It became fascinatingly eerie. The majority of the colours darkened considerably, even washing out into one overall colour scheme, yet certain lighter colours came to the foreground, and remained there; crafting some form of a ghostly apparition of the figure’s face. I love the effect, it seems like it’s been painted in some form of glowing paint, yet is nothing more than an illusion caused by the lighter shades.

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Another use of turpentine to obscure the forms of the embrace, I also utilised a mixture of  diluted clay and emulsion to cover and ‘melt’ the form. There’s something very ethereal about this piece, as if the thin layers of clay and emulsion reference a higher plane of existence, or a void. There’s not much to say about this piece really, but that I love the brushwork within.

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Another painting, this time much ore simple. There is a resurgence of the symbolism of the ‘heart’, both in the emphasis on the heart within the chest cavity, and the shape of the human form. It’s quite a nice piece, but was just a way of practising once more. I prefer the far more expressive forms, rather than the more realistic ones, in order to create a sense of capturing a moment of time.

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