Colour Inquiry - Know yourself in colour.
Being from the Northern Hemisphere I am always drawn to cool colour relationships, as such, I gave myself a challenge to work from a warm base to see how I - [my head space and senses] would react to a variety of warm grounds - some cool grounds did come through however. I have a variety of works in progress at the studio that will follow on from this initial response.
But, what I will say is that my sense of self in colour and my relationship to the landscape has been compromised - what happened? I belong to Glasgow - so why did the Australian landscape appear in these studies?
Brief to self in the process of painting: Only dialogue and think through space and colour - the division of space -[space and concept = brush marks and direction, all of which are driven by the concept - I am always thinking about the division of space and where where the most probable area of action is going to be - these considerations are embodied and happen intuitively through the process of practice. The chatter going on in my head is all about process - composition - focal points and how to get there -
In this instance the idea of landscape had already been decided upon as I was already running a painting workshop, and these studies would double up as 'how to' and 'why' I did this and not that - in discussing what it means to think through the discipline.
Dialogues such as: Hard and soft line work - drama and or subtlety - or both - receding colours and warm colours - what is needed in this space with these colours, are just some of the questions that continually pop up in my conversation with paint. Also, there is always the question of what needs to be edited out of a painting in terms of spatial relationships.
Another aspect of my conversations with painting practice is - how can I break some of the rules according to painting? For example, when some cool colours jump forward when they should sit back or when warm, dark colours do not pop forward, but more importantly there is always a direct and duplicitous conversation taking place - the body/senses and the medium of paint - firmly fixed in the process of making, thinking and reflecting.
Secondary and Tertiary Colours, Plus Tint form a Warm Base.
Brush Marks and direction, opaque and transparent application of paint in the under painting stage are comprehensively and individually considered, so that when subsequent layers of paint is added there is an established structure or the visual 'intent' is already embedded in the picture plane - this means that the painting can direct itself towards completion - the conversation is directed by what has gone before in terms of colour - tone - shapes - painting painting itself!
Colour Theory in Action:
Weeks 1 and 2 explored the concept of Temperature through a range of warm [James Mee ] and cool notes - a palette limited to primary colours plus white resulted in an impressive use of the medium of paint. An emphasise in exploring the materiality of paint using a variety of brushes and scrapping tools delivered and opaque v transparent hierarchy - Julie Ingle.