Platform for Art

In this ever growing age of the internet, art is finding a strong platform on the internet and it seems the way for the future for artists who constantly get turned away by art galleries. Finally there is good opportunity for artists to get their work out there and to be seen and appreciated by all art lovers, collectors and lots of different people all over the world. These are exciting new times for artists

With my first online art store/gallery being with bGallery , I have just accepted to join up with Artfinder too where I am currently uploading work and figuring it all out.

Memory Loss Oil On Canvas 61cm x 92cm
Memory Loss
Oil On Canvas
61cm x 92cm

A work in progress : : March 2015

This is a short video I made titled From My Studio. It is just a small part of the progress of a painting I am almost to completion with presently. I might do more videos like this as a way to invite you into my studio every now and again. All are welcome!

 

About My Painting : : 2015

Painting is an integral part of who I am, it is my primary form of expression which allows me to achieve a sense of belonging in the world. Painting is a way for me to investigate and resolve my place in areas of time and space in which I occupy.

The environment I am most drawn to is nature. Being surrounded by forestry and vast mountainous spaces trigger my sense of place. It evokes a wonder that drifts between the relevance of humanity and the purpose of existence. When isolated by the surroundings of nature a dialogue emerges through self-awareness where a bond between humanity and nature is significantly felt. Back in my studio this dialogue has a strong hold on what happens when I paint and my aim is to bring these conversations to the surface turning them into something tangible.

Photography is something that I would use as a type of journal, recording ideas and inspirations. I often bring my film cameras out with me to capture the things that interest me about a certain environment. I try to capture the atmosphere and mood of a place that mirrors my mood and emotion. I often put myself into the photo so I can become a part of it. When I study the resulting negatives and images I use the ones that bring visual narrative to my attention.

Through the memory of a place or an event, I jigsaw layers of paint onto the surface of the canvas pushing its boundaries until a narrative starts to emerge. Feelings that I am not alone in the solitary confinement of my studio often result, as if an absurd affinity between the work and I have occurred. It prompts the feeling that the work is reaching a place of relevance and the conversation finally emerges.

Through lots of layering and working up the surface of the painting, I sometimes take it off again and rework it until I have reached a place of recognition. I like to experiment a lot with my art. I sometimes expose parts of my negatives directly onto the canvas. I do this through my alternative darkroom processing technique called liquid light painting or painting with light. This makes the canvas light-sensitive so that I can develop a negative onto the canvas as I normally would when I’m developing a picture onto photographic paper. There is always the chance that the image fails to emerge after the exposure, but this is what makes it unique and interesting to me. It has a presence of something tangible by chance which appeared only to disappear. Leaving marks of tones and textures, the images that disappear are often more important and meaningful to me than those that stay.

I work the oils onto the same surface and the exposed image is one of the many layers that help build up the surface. The exposed image is also a way for me to bring the figure into the work. It may get fully or partially covered leaving parts untouched or it can be transparent through layers of paint over or underneath the exposure. I usually let the exposed image dictate how the paint should interact with it and sometimes I would use other media such as sand to add further texture to the work.

Light Sensitivity

This is a light sensitised piece of paper from my sketchbook (very small sketch book, Approx A6). I love the involvement of my painterly techniques that liquid light sensitising allows. It resembles an organic type of conversation between my ‘painter’ and ‘photographer’ side. This is all too inevitable I feel.. I’m enjoying the collaboration of both sides.. At the moment I am pushing this experience into a more ‘intrusive’ environment where I am marrying the two worlds together. Does/Will it work?? I am pushing my boundaries so I guess I have answered my question..

This is my son Aaron on sketchbook paper.

Memory Loss 35mm Film  On light sesnitised paper
Memory Loss
35mm Film
On light sesnitised paper

This is a self portrait on light sensitised watercolor paper.

Jan15029 copy

Note To Self

I began a new painting today working in the larger scale. I had forgotten the feeling of freedom working larger had allowed me in the past. Its hard to explain. Like my physical movements against a canvas closer to my size make me feel immersed somewhat. Working large after many years is like a new experience to me all over again. You could say I feel as fresh and new as my new studio and surrounding environment.