Friday, 11 March 2016

Reflecting on Mark Making in My Painting

The very focus of my mark making, in my paintings, has literally been blurred. The images I'm now working from are stills taken from short films that I shot on a digital video camera.  I'm working on board and I'm able to create a smooth brush stroke on the surface and I emphasising the direction of the movement in the picture as I focus on a directional grouping of marks to try and replicate a motion in the image.

The process of working from a printout of the still is also affecting how I interpret the colours and shapes of the landscape. They are removed from the true natural pallette, having been produced by the printer, and are another level through which I am translating reality.

I have purposely worked from a small A6 print and I am finding that this narrows the colours, although these have been manipulated by the printing process, into set areas. It's an abstraction of information into something simpler.

This absence of detail especially in the foreground is as if this is a quick glance at an environment, potentially as the viewer is moving through it. The interpretation seems like a second when the colours are not truly realised, a moment when the lens is adjusting.

Does this take the viewer to the spot or the moment? As yet I'm unsure. It does create action though.

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