Abstract Paintings #6, #7, and #8

More Sub-conscious Musings translated into larger paintings:

Started the day by doing some research for my Theoretical Study. Read right through a small book on the English artist "Patrick Heron", by Michael McNay, skimming past much of the background biographical detail (which I kind of know already) but focusing on anything related to Heron's thought's on abstract art and how he went about it.

What particularly interested me was how, in later years, he created these fantastic large canvases of free-floating shapes from what looks to me like a series of "doodles" that remind me very much of my own subconscious musings. My friend and fellow architect, Ian [now sadly gone], often said that "there was nothing new under the sun" and now I find Heron has been there before me using this method of creating his images. So I'm in good company!

So it was out to the studio in the afternoon to continue where I had left off yesterday, buoyed up by the thought that there was after all some validity in this method:

Abstract #6, acrylics on primed hardboard, 40.7x61cm.
Now, I don't consider this painting to be quite finished yet as there is a lot more I feel I can still do with it, but as another step along the way I am pleased with the design and colour scheme.

While I was waiting for the first coat of paint to dry sufficiently to take second coats I kept going with another in the same vein:

Abstract #7, acrylics on primed hardboard, 40.7x61cm.
Took this one a bit further with applications of further coats of paint which I worked into with scratched-in markings.

Finally, with Heron very much in mind I dug out one of my 'musings' from a few years ago and developed it up into this:

Abstract #8, acrylics on primed hardboard, 40.7x61cm.
Not as brilliant as I hoped!

All the while I was painting these three, questions were arising in my mind. The internal debate was raging around the idea that this type of painting has become far too formalised and more like illustration than painting. Not such a bad thing, but not what I am searching for. I like them as images, but feel that they each lack the spontaneity of "free" abstract painting.

Something needs to change...and it will.

Abstract Paintings #3, #4, and #5

Moving swiftly on from previous posting, these three abstracts came in quick succession:



Abstract painting #3
acrylics on primed hardboard, 47.7x61cm.

All three were developed from what I call "sub-conscious musings", where I let my pen wander freely within a small aperture, and later draw out the image as it appears to me, applying colours as they come to me.

This one (above) undoubtably came after researching the work of the English painter, Roger Hilton, concluding with his "March 1956" painting in blues and white.

And I followed on with these two next ones, almost simultaneously thereafter:




Abstract painting #4
acrylics on primed hardboard, 46x67.5cm.



Abstract painting #5
acrylics on primed hardboard, 46x67.5cm.

Both of these were painted on already prepared hardboard primed with household emulsion. But they must have been two different types of emulsion for the first (a pale lilac blue) was slightly chalky, and the second (a darker mid-blue) was smoother as though it was actually oil-based (that will go well with the subsequent layer of acrylics I'm sure!).

I speak of this as though it meant something, and it did for me, because in the first the acrylic paint kind of sank into the surface, while in the second the paint stayed more on the surface. An interesting difference to ponder. Whether either are considered finished or not depends on whether I think there is something more to be added, which I don't see as yet.
And before you ask, both of these are purely imaginative with absolutely no reference to anything objective, like a mountain perhaps, or the sea, or even body-parts :o)

Abstract Painting #2

Alright, bear with me on this one - it's part of a process and is not always as good as you would like it to be!

As I contemplated my "free" abstract created the day before (posted yesterday) I thought about where abstract images came from. Since I am presently searching (or rumaging around so to speak) in the depths of my subconscious for images that express how I am feeling I consider that there are two ways of revealing them: firstly by painting directly onto a board or canvas, without design; and secondly by making a preliminary free-form sketch, as Franz Kline (and also as Patrick Heron) did, on paper first. I will return to both Kline and Heron later, but for the time being, and perhaps taking fright at working spontaneously on a fresh board, or simply feeling the need to document this for the benefit of the OCA, I turned my attention to making small "thumbnail doodles". Using a small cardboard aperture and with closed eyes and brain dis-engaged, I would let the pen wander within it at random. I call these my "sub-conscious musings" and have often made images in this way, some quite successful I may add.

But not always.

What emerged was this image which I decided to work up into a painting:



Abstract Painting #2, acrylics on hardboard, 53.5x36cm.

At the time I was pretty pleased with this thinking that I was once again mining that deep seam of possibility that had already generated some interesting images. As time has passed, however, I knew that I could do much better than this.

Although the painting is not really what I am looking for it did point me in the right direction. It reminded me somewhat of paintings by the English artist Roger Hilton (1911-75) who created some wonderful abstract paintings during the 1950's and 60's.

While I was reading about Gillian Ayers and her "free" abstracts I found that she was great friends (if not to say always friendly!) with Hilton, who you might gather is one of my favourite artists, not because he had a name for being rude you understand, but because his paintings fill me with wonder and awe.

Here are a few snippets from the book "Roger Hilton; The Figured Language of Thought" by Andrew lambirth (publ: Thames & Hudson, 2007) which speak out to me:

"...the world of feeling and in ideas".

"the inner riot".

"his colour...has both a spacial and emotional identity..."

"Hilton ...relies so intently on his nerves and instincts and intuitions".

[my italics in each of them]

This research opened up my imagination in a way I hoped for but could not have forseen.

And that, children is enough for tonight. Next episode tomorrow -IF you are good!

Project 3: Abstract Painting

I've been a very busy boy these last couple of weeks. After my short trip to Milan I found it very difficult to get going again with my head full of Last Suppers and whatnot.

Following my Tutorial the previous week (which I look back on with very mixed feelings) when my Tutor suggested that for this project I start with the Theoretical Study so that I might incorporate some of the things I learn from it instead of leaving it to the end and rushing to complete. Even though I had mis-givings about reading so much about what others have done that I get confused (which you should know by now, I do very easily!) and try to copy their work instead of doing my own thing.
I'm pleased to say, however, that it turned out to be the ideal way to get myself into the course-work again and finding inspiration in my readings. Firstly I read through in it's entirety "Abstract Expressionism" written by Barbara Hess (pub; Taschen) which gives an over-view of the movement and small bite-sized pieces on all the major players.
This led in turn to a book I have had for many years: "Hans Hofmann" by Karen Wilkin (pub; Naples Museum of Art, Florida) and while I understand (I think) what he was achieving with his 'push-pull' abstracts I found myself losing interest. I was already beginning to want to narrow my focus to not only "Abstract" painting as opposed to "Abstraction" but to "free" abstract painting, or "pure" abstract, or simply painting intuitively from the sub-conscious. Quickly I realised that the whole subject of Ab-Ex was far too wide (and already covered extensively in print) and needed limiting to something more specific and of interest to me. Sadly Hans wasn't doing it so I moved on to reading the relevant sections in yet another of my books on the English artist "Gillian Ayers" by Mel Gooding (pub: Lund Humphries, 2001) which I remembered in Chapter 4: 'Seeing What Paint Could Do: Free Abstraction and the Hampstead Mural, 1956 - 1957'.
Two problems arose for me: the first concerning the use of the word 'Abstraction' which I take to mean removal, by degrees, from reality, but which was used frequently at the time to simply mean 'abstract painting'. I have decide to stick with the former as I prefer it's distinction. The latter, to my mind, is more appropriate for non-objective, non-figurative, images from the sub-conscious.
The second problem that consumed me for the best part of two weeks was that as far as i could see all abstract art was wall-size and needed a huge studio to lay the canvases or panels out on the floor to work on them. Happily I now know this is not the case, but more of that later.

In the meantime, with a growing sense of unease that I was reading too much and not actually making any progress I got myself into the studio and made my first "free" abstract:



Abstract Painting #1
Acrylics and collage on hardboard, 36x53cm.

Not large but to my mind very satisfactory, and I was off and running!

Project 2: Theoretical Study

So this has taken me a while to get round to since I've been all over the place - skiting across the sky at 35,000feet, swaning around the streets of Milano dazzling the locals with my sartorial elegance, and stuffing my face with pizza's and pasta's (not to mention the vino)!

I wasn't sure how to present this since it's 15 pages are too many for Blogger at one time, so I've photographed them in threes to get to that magic number 5.

This, of course, presents it's own difficulties with the text appearing so small and at times a bit blurred. Still it's the best I can do and I hope you are able to get the gist of what I'm talking about. I also know it's a lot of reading and you all have busy lives, but I wanted to show you what I had been up to instead of just sitting around pontificating into thin air.

You should know that when I first started this epistle I immediately set off on the wrong direction, concentrating on the sexual aspect of both Schiele's and Vettriano's images. Fortunately I realised in time that this was not what it should be about and quickly turned it around to focus purely on how they each created their figurative paintings. Phew! So here it is, hope you can read it by clicking each pic to enlarge:

















It isn't as polished as I would like, and I may even have missed opportunities left, right, and centre, but when I read it again I am fairly satisfied with the content.

Project 2, Painting 5 : Ugly Beauty

To complete this set I wanted to finish with a flourish, but didn't have any more sketches from The Sleeping Beauty, so I chose this sketch from the Trocadero series.

Having felt that I didn't do quite as well with Paintings 3 & 4, I wanted to lift myself up (metaphorically and psychologically, you understand, not physically on the end of some blokes hairy arms) so I set about these studies with some gusto following the same process as before:


Study No.4: Rollerball on paper, Sketchpad 1 (A4).
It took me four drawings to get to this one which I really liked for it's simplicity and style.

Then moving up in scale:


Study No.5: Neocolour II on cartridge paper, A2.

This just thrilled me! Sometimes the lines are effortless.

Moving on to painting:


Study No6: Acrylics on cartridge paper, 45x61cm.

Satisfied with the loose flow of paint and the values.

No holding back now, I start what I hope will be the final painting. I had been working well that day and was confident I knew exactly what I was going to do:


Start on final painting: Oil pastels on primed hardboard, 45x61cm.

I shouldn't get so cocky! This was the third attempt to get the initial drawing right. Since I don't like to "square-up" my design onto the painting board I rely totally in my ability to judge the proportions correctly first time...or second, or even third time. But that's what a clean turpsy rag is for - wiping the oil pastel off and re-stating till it is right.

Having eventually established the design, and also having spent a fair bit of time mixing suitable amounts of the main colours, I boldly lay on those colours starting with the ballerina's arms and head working my way down to the bottom edge in a series of almost uninterupted movements:



Final Painting: Oils on hardboard, 45x61cm.

I really think this one needs to be seen in actuality to appreciate some of the colours and textures (my photography is getting worse, perhaps I should do a blog about photographing finished artwork and how to get the best results?).Regardless, this painting does in fact bear close scrutiny and leaves me with a big smile and highly satisfied that I did indeed finish with a flourish!

Project 2: Painting 4

In my Course Plan I proposed to complete four paintings and so, for this my final painting in the series, I start again with yet another sketch from Sketchbook 1(A6), re-drawing at a larger scale (A4) to get the feel for what this image is about:


Pencil on paper, A4.
Immediately I see that with the full extended limbs this painting will need to be wider than high, with a proportion of about 1:1.2, or more.
Now, in itself this has the potential to look grand and fantastic, but there is an awful lot of blank space. My previous three paintings have all been more successful (I think) when I cropped tighter into the figures. The question is: What does this painting require?
I therefore carry out this study to consider what the right proportions should be:


Rollerball and felt pens on paper, A4.
With no definite conclusion (I have been feeling very indecisive of late) other than each of them could make a decent painting, I decide that if I crop in tight to the figures I will be tending towards the abstract and that is not what this Project is about. So I'll leave those paintings for another day and stick with the full monty!

To reinforce this concept in my mind I do a whole series of pastel studies, of which this is one:


Neocolour on paper, A3.
I could do this sort of drawing all day long but there comes a time when I need to get painting:


Acrylics on cartridge paper, A2.
With some blue mixed with white and a soft watercolour brush I "draw" the figures with as much energy as I can muster, blocking-in with directional strokes.

Satisfied that this is going in the right direction the next working day I make a start on the final piece in oils:


Oils on board, 67x61cm.
I may have changed my starting method from first two paintings by drawing the figures with oil pastels first but at least this way I can be sure to get their hands and feet on the board! I can go over the drawing as often as I like till I am satisfied with it, and even wipe off and start again if not.
Painting starts with a pre-mixing session, and, with loaded brushes lay-in the figures first, then cut-in with the background colours.

I am pleased with the end result in many ways but also think it is a bit formal and stiff, even though my confidence in the manner of paintinig I have developed has grown by continuous repetition.

Now I know this doesn't help you the viewer but my photo of this painting is not what it should be for you to appreciate the depth and brightness of colour, and also the free brushstrokes. You will just have to take my word for it, and I will need to find a way to somehow correct this.

Summary of Achievement 4:

1. Completed another painting to my satisfaction.

2. Feeling more confident of the process and my ability to see it through to completion.

3. Even when difficulties arise I am able to remain calm and think through the problem to a satisfactory solution.

4. Every time I paint I grow in confidence and my painting becomes looser.

5. By drawing out my design with oil pastels first I exercise more control on the process and eventual outcome. Painting directly, while having some merit in a loose and freely expressed image, leaves too much to chance, particularly with this figurative subject matter if I want it to look like the way I designed it.

6. While this painting is not to me as successful as previous three paintings, for reasons of design, I am still pleased with it.