Unslicked Paulin

Friday 30th June, 2017

 

Unslicked paulin week 4

 Unslicked Paulin, 2017, Paulin, Paraffin wax, Microcrystalline wax, PVA glue, Acrylic paint

  • Unslicked paulin finally complete! A duration of 4 weeks!

-A grueling experience of intense concentrated labour. Although the work did not require to much physical actions from myself, it sourced much concentration, visibility and patience.

  • the last stroke of paint applied to the surface filled me with mixed reactions. Initially excitement, joy and this sense of euphoria overwhelmed me, as this was an achievement, a journey which has been consuming. Then there was this overwhelming uncanny feeling filling up in me. The only way I could describe this was, I set myself a set routine, everyday was the same I new where I was and what the next avenue will be, so for me to now have this broken or no more, creates a certain amount of loss, vulnerability, and a feeling of numbness.

-The work itself for me looks beautiful, reminiscing tapestry or textiles. I feel it carries these qualities of a delicate precise approach.

  • My work allows me to develop my theoretical understandings, which alight new meanings attached to my work. At present and in more detail I am looking at:
  • Elements of chance in art
  • Working with unknown processes
  • Topology
  • Mapping out new data, recordings, investigations through the deforming of original surface materials.

Unslicked Paulin, 2017 – (Close up of work)

 

 

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Unslicked Paulin

(Work in progress – Half way mark)        Saturday 17th June, 2017

Unslicked paulin week 2

(Work in progress) Unslicked Paulin, 2017, Paulin, Paraffin wax, Microcrystalline wax, PVA glue, Acrylic paint

  • At this stage I have completed the working process – method of transformation, of all materials used interacting, colliding, connecting, performing and embodying one another. This creates the foreground / background – foundation surface, which enables me to capture and document this act of materials converting in a process which is unknown to the eye.

-This for me indicates a morphing operation, where a substance can become an existence.

-The textural surface quality of Unslicked Paulin

  • Slick
  • Solid in structural framework – but with a wet / sticky texture
  • Ruffled / crumpled in frame
  • A leather like quality
  • Polished / shinny characteristics

The act of painting

  • To firstly capture and then investigate through a course of documenting and recording, highlighting this expressive change, in the morphing of the materials used. I see it as a journey where the previous is now made new.

 

  • A layering of marks gathering together illustrate shape, form and space.

 

  • I see Unslicked Paulin as only a suggestion of form in the shape of an object. Maybe this is because it is flatter than a work like Unbandaged Paulin which carried more raised surfaces.

 

  • At this stage I have noticed that it is much easier in identifying this conversion, in the transformation of surface. I find a stronger result in reporting this connection between process, surface, materials and media.

 

  • This slick shinny surface lets the paint glide onto the surface. The  work in appearance becomes very textile like, connotations towards a tapestry. A very detailed account of recording.

 

Unslicked Paulin, 2017 – (Close up of work)

What I have learnt from working on Unslicked Paulin

  • A direct observation of the subject matter, which then leads to myself becoming inhabited within the notion of inquiry, which takes me down the journey of investigation, which shapes the background and the foreground. This results in a creative gesture of a formal product / object evolving into another subject matter, constantly allowing me to question what is happening at each stage.

 

  • I do not see my work as a retinal side of painting. -What I mean by this is there has to be an interaction between viewer and work, in order to  enhance a meaning which comes from a visual understanding. I feel that the viewer forms a new narrative of what the work is, however I do think that the viewer will notice an intense relationship between artist and work.

The London International Art Competition opening at the HLS Gallery

Sunday 04th June, 2017

Oil Trace, 2016, Canvas, Paraffin wax, Oil pastels, Acrylic paint

  • Oil Trace was selected and shortlisted as an artwork to feature in the exhibition.
  • The artwork was to be viewed more as a sculpture rather than a painting, this was because it was positioned on a plinth. The work becomes an evolved form and something which is less associated with being hung to the wall.

-It was a healthy competitive competition which was an absolute delight to be apart of. Many artists from all across the world applied, so to have Oil Trace selected was amazing.

-The opening of the show was on Tuesday 30th May  6 pm – 8.30pm. It was a fantastic evening as I got to meet the owners of the gallery, and all artists involved in the exhibition were there. It was great as I was able to exchange thoughts and build a conversation with all involved, which then lead to an opportunity of promoting my art.

-Connecting with artists and gallery owners comes with great importance. Not only does it allow a progression in your own practice, but it creates new avenues and adventures for future shows.

The exhibition is on until Friday 09th June

HLS Gallery International pic 1HLS Gallery International pic 2HLS Gallery International pic 3HLS Gallery International pic 4HLS Gallery International pic 6HLS Gallery International pic 7