Today's progress

Started early this morning and now have four new pieces on the go.....although 2 might become one. They are the two smaller canvasses that I am aiming to use the palette I used on the commissioned pieces. For me, there are some legs left yet in the turqouise, vermillion and black combinations that came out of the client work.


The other 2 pieces are the largest canvasses that I have worked on yet. 40 x 40 inches and I love the sense of freedom and thus the extra boldness it gives me in making marks.
The bluey/turquoise piece is at a sort of underpainting stage. The process I am using here differs from the client work just finished and the smaller canvasses above in that I am waiting for each thin layer of acrylic and water to dry before applying another. This is slowly building up the "curtain" of texture I want, then I am already imagining the lines and forms I want appearing through and on top of this area.



The second larger piece has started in a really exciting way, the space available has really given me some new inspiration and I took the initial idea of using black printing ink rolled onto the canvas from a small cropped section of some images I created in the summer and then cut up.

Cropping images that I have created but that didn't meet the grade for me is a great way of finding new possibilities for comps.
This second large canvas is going to be all about establishing contrasts and allowing colour,form and line to sing against each other.

All the pieces will probably at present continue to hold themes of fauna, flower, moisture, rain for me.

Acrylic and ink on canvas. 62 x 30"

Acrylic and ink on canvas, originally uploaded by P Brown.

This is my personal favourite of the 2. I left them untitled, but if someone forced me to give it a name, I would call it Falling Bloom.

Acrylic and ink on canvas 62 x 30"

Acrylic and ink on canvas, originally uploaded by P Brown.

Well, the 2 commissioned pieces are FINISHED! I am so happy as the client really loves them. It is such a satisfying feeling to think that these are going to a person who values them in a less commercial manner than my illustration work perhaps.

I can't wait to see photos of them in the yoga room my client had them commissioned for.

The design of these pieces is a process I am particularly happy with. Letting each canvas develop both on its own and then in comparisons and juxtapositions with the other three. It really made the whole process not just about putting paint down, but about framing, re-framing, re-connecting from different viewpoints and contexts and just letting the work form more freely than if I had simply set out to paint one at a time.

Now I am really fired up for the next pieces and the exhibition at the end of the month!

Just wish it would stop raining!

Progress on new work

The first day went really well. I am impatient for results but find that if I work in short bursts and then leave things to "settle" for a bit, I return with fresh eyes and see things that I didn't half an hour back!

I have started juxtaposing the four pieces I have on the go, to see what tensions and dynamics occur. I find it a challenge to remain fluid and impartial - each time I repair or reposition the pieces, new possibilities appear. I am finding it a wonderful way to work - there is a design process here as well as a purely visceral application of paint.

I am making changes to the composition in response to the juxtapositions I am seeing. This means that where one canvas seemed strong as a standalone piece, adding a gesture or mark in response to the content of its close neighbour takes it to a new place visually. As I move the pieces around, repositioning and arranging, its easy to add new elements where it seems right.......indeed, just rotating a piece in relation to the others creates a whole new composition each time.

Theme - wise, things are staying consistent. Flower shapes and organic forms/lines once again dominate and I am pleased that the sense of playfulness from previous work is still present. The use of white space has a stronger role to play than in, say, the San Diego paintings and I like that alot. Letting the marks breathe on the canvas keeps the pieces developing in a light, happy manner. Me like!

I can see the final pairings for the 2 big client pieces taking time. I am also not sure whether attaching the pairs flush to each other is going to be necessary - I have been playing with placing them with a 3 inch gap between them.....they still work as unit but the gap really opens up space and possibility in the visual interface.......listen to me! You're really in trouble when you start using phrases like "visual interface"! Ha!

Will post results soon.

First day back in the attic

Just begun work for the exhibition next month at Venue Cymru in Llandudno. I have roughly four weeks to produce pieces and getting back into the attic was hard! Now that I have five canvasses on the go things are feeling a bit more fluid. I have a loose theme or really a sense of the direction and palette these next pieces are going to take. In my mind I am seeing water, rain and flowers. I have set out to work quickly, which is the best way for me since then I don't get precious and the work remains animated and happy. Too much thought always leads to leaden results in my experience.

That said, I am keen to work using a more layered approach in some of the painting. Which means some patience on my part waiting for paint to dry before working on the top of previous marks.....this can be a loooong time when the previous layer is very liquid! I am armed with a hairdryer!!

I am also planning on establishing contrasts not only in the colour palette, form and line, but by adjusting the tempo of the application - I am already seeing the later stages of the pieces forming now being more careful and "tighter" or even tender paint marks. I think it will be exciting to make myself slow right down towards the later stages as a contrast to the quick, gestural and pretty physical marks I usually end up making.

Two of the pieces I am doing are for a client and we have agreed that they both be made up of two canvasses fixed together to create a bigger piece. This approach came about as a result of development experiments cropping and juxtaposing smaller pieces from separate paint sketches together. The sharp division created an interruption in the overall composition that was both discordant and exciting - it set the rest of the tensions in the pieces off wonderfully. I am really excited about making more paintings for the exhibition in this way.

I have posted some quick pics of the attic this afternoon - i am really running out of space up here with the boxes and bikes with these bigger canvasses but it is so freeing to work on a bigger scale. there seems to be alot more room for accidents and changes in direction within the spaces.

cataract. acrylic and ink on watercolour paper. 490 x 360mm

cataract, originally uploaded by P Brown.

Just got around to blogging this piece. The last one that "made the cut". This one differs from previous work in that I really spent time working up the piece in layers and "discovering" the painting as I went along.

acrylic and ink on watercolour paper. 405 x 305mm

painting, originally uploaded by P Brown.

This one was done this afternoon. I was working on some directions for a client and this one took me by surprise enough to end up in the portfolio. I love it: its got space, energy and I think a sense of joy and fun.