When Nothing is Working... Try Something New!

A new approach...

Last weekend was earmarked for Art with a capital A. With the West Norfolk Artists Association Summer Exhibition fast approaching, and the deadline to get entry forms in almost here, I was running out of time to produce some new work. If I had high expectations, they soon came crashing down. Nothing was working out, I felt rather uninspired and it showed. Frustration and disappointment set deep by Sunday evening. My long suffering husband had to put up with 'woe is me' and lots of sighing. "I don't know what my personal artwork is about..." and "It's all got a bit lightweight and flimsy" were some of the words muttered.

My mind must have been in overdrive while I slept, however. Monday morning I woke up, and a little mental pep talk whilst in the shower gave me whole different mindset for the day. Deep down I do know what I want my work to be about - contrasts of media, translucent versus opaque, detail versus abstract passages (for a start). I would try something different. I would experiment. Take the pressure off. I already have one pastel being framed so at least I have one work to enter. If nothing else I will at least have some fun!

Taking my theme of 'Artist in an Acre' I selected two photos as inspiration. I planned to create an abstract underpainting, then bring some semblance of order out of the chaos by working on the top but allowing passages of the initial layer to show too... These step by step photos demonstrate the stages one of the paintings went through. I started by laying the support on a waterproof sheet, on the floor, for the initial work - I planned on getting messy!

Diluted acrylic washes painted on to a canvas board - not pretty.

 

Thicker paint sponged on in selected areas.
Once dry, liquid acrylic ink is squirted and diluted on the surface,
drips encouraged.

Oooh, now things are getting interesting... dribbles of white diluted gesso.
The yellow acrylic ink wasn't as dry as I thought and mingles - I like it! 

Once the previous layer dried more acrylic ink is added...

Assessment time... 

Taking charge, now referring to reference photo more -
need to keep things loose though

Ah, now there is some context.

Keep the work loose. Spatter and droplets of brighter colour
for suggested leaves...

 

Tinted gesso for skyholes, needed some more 'pop' generally
 and more emphasis on sunlit grass. Out come the Conte crayons and
 finally 'Ta Dah' - finished!
Stream of Light, 35.5cms x 46cms, acrylic & Conte on canvas board.

I have also completed another artwork, a diluted acrylic underpainting on gessoed mountboard then worked up with soft pastel. Unusual for me, I did no blending of the pastel layers. So, when nothing is working... try something new. A different approach could work wonders. I am delighted with the results of the past two days, fingers crossed the selectors like my work!

Late Light, Spring 59cms x 54cms, acrylic & pastel on gessoed mountboard.

  

Observational Drawing - Pot Plant

My classes are back in full swing this week.  Hats off to all those who braved the ice and snow to make it to the studio above Henderson Art and Framing in Gaywood.  Every term I like to include a session working from still life, the challenges of 3D and how to translate this on the paper or canvas can teach us so much.  The pastel class on Wednesday will be looking at a large pot plant that I will bring in.  It has been in my front room for the past week and on Sunday I made several drawings myself.  It has the most 'mobile' leaves.  In the dull evening light they tend to close up and during the day they relax and fall more open.  Let's hope they behave in class!

The first drawing was getting to know the subject.  I used charcoal as it is such an immediate material and the class members may enjoy trying it for a change.  Then I tried conte on white cartridge paper and established the difference between the top and underside of the leaves.  Finally I looked at the negative shapes between the leaves.  These can be fascinating in themselves but can also help with accuracy in the composition stage.  I decided to leave this drawing at this stage to demonstrate this concept to the class, but will encourage them then to continue working to a more completed piece of artwork.

Charcoal on cartridge paper.

Conte sticks on cartridge paper.

Pale blue pastel pencil, white conte stick on blue Canson paper.

Making several drawings of a subject is a great way to get to know how to portray it best and is ideal preparation before going on to do a more detailed drawing or painting.  Or even to understand essential components before doing a looser expressive piece of work.  Why not give it a try?