These sketches and photographs were preliminaries for the body of work titled Begin with Sand, Silt and Water, 2012 – 2013, and were a part of my process before and during painting, a part of memorising and reconnecting with original feelings on site.
There is a slideshow on my Home Pagewhere you can see how the paintings turned out.
Return to the Sea Floor 1, 2010, intaglio and wash 20×26 cm print, 35×50 cm paper
Return to the Sea Floor 3, 2010, intaglio and wash
Return to the Sea Floor 2, 2010, intaglio and wash 16×20 print, 35×50 cm paper
Intaglio and collage
Intaglio and collage
Diminished, 2010, intaglio, collage and wash 20×33 cm print, 35×50 cm paper
Dawn Cloud Trajectory, 2010, intaglio, collage and wash 15×31 cm
Toward the Beach, 2010, intaglio and collage 14×32 cm print, 35×50 cm paper
Intaglio, collage and wash
Mineralised Columns, 2010, intaglio, collage and pencil 13×30 cm print, 35×50 cm paper
Point Roadknight Porta, 2009, loil painting on board, 90×240 cm
Tidal Breach, 2011, oil on canvas, 90×120 cm
Seascape commission part 3
I selected these works on paper and large oil on board completed in 2010 as different versions of the same topic as the Point Roadknight influenced commission and its companion. The selections ( horizontal) are part of a series of artworks titled Return to Sand and Water. The different media also emphasised the processes of erosion at a special place called Point Roadknight.
This painting has been a challenge and I have lingered in the final stage of part 1 around drawing together elements of the composition into a coherent visual language. When I focussed on specific breaches in the land form where erosion cut across the rocky promontory I imagined the future destruction of this interesting and intriguing place. With that feeling in mind I could articulate different levels of meaning and tension between the geology on one hand and the erosion that reveals its interesting features on the other.
The wet poured paint washes will require several days to dry before application of impasto strokes. Two washes of mid and light blue bled together then another indigo wash was poured over them in an area that counter balanced the larger indigo passage in the bottom right hand section. A few awkward passages of paint require more attention.
The composition has more energy and tension between light and dark passages and heightened colour but is a bit busy.
I feel that more subtle tonal variation is required on the ‘colonnade’ on the right hand area which at this stage is a flat indigo shape.
The ‘colonnade’ overpowered the composition so I thought a change in tonal value and colour where the dark indigo right hand side became lighter and the lighter left hand darker and more indigo in colour would draw together elements in the composition. The breach in the land form by the ocean seemed to divide both sides of the composition rather than be the focal point.
At this stage the painting at the end of part 1 is a little too literal and any abstracted visual elements that refer to the artist’s gaze and future imaginings lost.
In part 2 these improvements will be part of the continuing journey.
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