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Art and Rammstein
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worked with an amazing photographer called Zara who photographed all work tagged as 'Zara collaboration'. Their ability to beautiful capture my work never seases to amaze me.
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fr re fell in love with my work through this photo
Going through the photos Zara took of my work, this one jumped out. I struggled so much with making this term, tried to push myself with different and more colour combos, didn't get to paint anywhere near as much as i wanted, and struggled to reconcile at times my inability to make (for a number of reasons as discussed) with my need to create as a basis of my theory and practical understanding.
This photo brought together so much of why i love my work.
A big push for me this term was to intentionally push myself to try different colours, colour combos and more colours in a single painting/series. This painting series Did that, but i also found myself being drawn to 'core colours' that repeat in my work in the burnt orange and turquise, and i'm so glad i was. Moving away from the colours/combos I have come to enjoy and rely on consistantly has had allowed me to push the artwork in new directions - see the dark purple in these paintings - whilst affirming why i use black as a grounding colour in these smaller works. Without them the defined connections would sit equally to the rest of the colours, and the flow and connect wouldn't have such definition and layers with the other connection points.
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thinking about titling. using these as an alt version - its how i usually file and organise my work, the colours of the painting.
concept of the 'title' being the elements that have made up the artwork
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1st set up - traditional to my historical set up.
Whilst setting these works up, I remembered the swatches of the work i've been noting this term in conenctions with colour exploration and documentation. Titling has been something i've wrangled with in my work for a long time. Titling my work often feels like defining it, clarifying it, even boxing it in, any of these not congruent with the work itself. I wonder if perhaps these swatches are an alternative to it. In my personal filing and organising of my paintings i title the files by the colours of the marks, ie yellow, green purple and pink painting. These swatches are a visual version of this. It almost defines the work (titles it) by the elements it is created from, and the combinations to make the colours broken down even further. The swatches being on the same paper as the the artworks further title it with the work itself. There are several ways to see this method of titling, i enjoy the thought that it is the painting titling itself. a rather 'i am myself and defined by myself and no outside context is needed' type approach.
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Walking from buying supplies to the studio. The navy blue and burgandy combination against the beige stone combination always makes me smile when i walk past it, and the neon green of the graffiti is such a good addition. This combination of navy blue and burgandy/rich red has been jumping out at me for months now, i would be surpised if i don't see it in my paintings sometime soon.
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Audio and video uploading
trying everything to upload even just samples of my audio and vidoe recordings from painting and it refuses to work apart from the rare few. Incrediably frustrating and it seems like everyone has the issue when i've been searching it up for possible solutions.
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Attempt 1 through 3 of trying to hang this triptic [failed]
after hanging my other big painting before, i didn't think hanging these would be any different. But I had used 2 very different weight fabrics for the two, both new fabrics to my practice. Usually all i need is string or some fishing line, nothing too strong with the light fabric i'm using. over 6m of heavy weight canvas being pulled up with the point of tension being a thin wire itself, frankly it had no chance.
After my third failed attempts, 1 - string, 2 - elastic line, 3 - medium strength fishing line, I needed to find a different apprach, and only had one chance or would need to come back another day to hang them up, which i very much didn't want to.
After some hunting around I grabbed this 100m of rope seen below, and hoped that would do the trick, both with it being stronger and thicker to widen the surface area for the friction of the wires when pulling the paintings up.
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