I started painting my final pieces, after a wait that just felt like a small eternity. Annoyingly enough, I had to first prime the boards, so I can paint them without damaging the wood – that was resolved by a quick solution of watered down PVA from a massive tube in the studio. Next up was the black base – now that was tricky because I was running very low on black acrylic and I didn’t have money for supplies at the time. I had to turn to my friend in Fine Art, Arthur Jarvis, whose work pretty much focuses on dark and sticky substances and for it he uses a lot of black paint. Fortunately he had some left, which I thought would run out quite quickly but miraculously covered all the boards and there was even some left to spare.
After having experimented with wet on wet painting I started thinking of how to do it well with acrylic. The process of making the Space piece and the Cosmic Tree piece was the most satisfying experience – watching mesmerised as the paint flows through the watery layer, plays, settles, moves, swirls and makes unexpected shapes and mixtures. Such things cannot be achieved by the human hand but only induced by it and I liked having that idea add to my work.
I wanted to do some more definitive studies and finalised images…
There’s a small dictionary of marks I made after I did the drawings, not for any particular reason.
I’m really pleased with these, and I think I’ll try some other geometric arrangements, go on a bigger scale – use A2 and A1 sheets of paper to illustrate all of them together… Then quickly move over to incorporating those concepts in the contexts of different myths.
Once I finished this piece, I went out on the look for frames. I knew I didn’t want this drawing to be forgotten away somewhere in a sketchbook or an album, and I wanted to give it an honourable place in my room.
One day in December Derry (Beck) and I went to the studio for a life drawing session but found it empty. Apparently the model was ill and couldn’t make it so the class was canceled. We were surprised and a bit disappointed but Derry instantly had a solution. He took a model of a skeleton from its hanger and put it in a life drawing model pose on the little stage with the drapes and all.
I am very pleased with the two pieces, as simple as they are.
I can only say that I had an incredible time doing this project. For so long I had forgotten what it was like to draw with black ink and just black ink and after I did the first couple of images, the rest felt like child’s play! Amelia did say this was going to be one of the hardest projects of the term and I can agree that parts of it proved quite difficult. For example, I believe that the hardest part of all was just setting the character-items into this world of setting/background-items. The very interaction between the two types of ‘inanimate’ objects, the proximity of one to the other (which is key to conveying the needed emotions), the relation of blacks and whites and contrast altogether in one object next to another (should they be similarly shaded in contrast to the background or should they contradict one another?) and, well, actually a lot of other things that one usually doesn’t think about consciously (like me).
But enough about that. The project is called Personification and this is Chapter I: Rumpelstiltskin.
Below you will see twelve images that illustrate the story. They are black and white images done with ink and pens (with the help of a Promarker here and there). I guess it would help if you find the story for yourself and read it, and it would be a fun exercise to try and figure out which is which, so, enjoy.
*Bear in mind that this is a Course Project.... any feedback and/or constructive criticism is warmly welcomed!!!*