I am thinking of this painting as one that has many final states – captured in photographs and then reworked to keep exploring. Although the physical painting is only one final image, the other states will be recorded here in photographs.
This is a really FREE way of painting. I far less worried about spoiling what I have already done, because I am recording it before reworking it.
^ Next layer with massive dry brush in Gerhard Richter style, impersonating the squeegee marks he makes. These are surprisingly difficult to do! Ideally I would then have waited for this layer to dry before moving on, but I am limited on time so on I go!
I did a lot here. Being very playful with marks. Half consciously thinking back to Howard Hodgkin’s work and his playful array of brushstrokes.
I was thinking about brushstroke size here, adding the small brushstrokes at the top of the canvas, like I did on my past paintings.
Denser blue hazy background put in, which is much stronger. And I added some green! Because that colour was lacking.
With these layers I was thinking about where the ground of the painting is. Trying to deal with that here with the curving horizontal line that wraps around the funnel of brushstrokes. Is this the marker for where the ground is? And anything below that is what.. underground?!
I am realising this composition and experiment is very directly influenced by Amy Sillman’s painting Get the Moon. I am making my own work based on that, something I have never felt the need to do so intently before.
Adding ‘screens’ to the painting with big lines of paint. The blue marks being intentionally dry and so semi transparent. To add depth and cover things up. The beige marks at the bottom covering up the stuff below this strange ground line I put in.
So I’m thinking about my paintings from an outsider’s perspective. The structure might sit in the painting, or it might not. But it can act in this photograph as a representation of what I am painting.
I am essentially painting this:
The structure with the lived experience painting on the inside. And I am painting the outside, looking at this from afar.
It’s very helpful to have this image. I am imagining this in my head based on this model! It’s like I’m adding special effects to this basic model, to create the painting. Like this:
Editing this image helps me to figure out what I’m painting. I’m excited to see where this train of thought goes when I pick it back up next term!
All think it needs now is the same colour as the background applied opaquely on top of some of the lower marks. Am I going to wait for the paint to dry a little first?
Georgina Harris 