I had recorded this tutorial, but for some reason or other the audio is very unclear and I could not make out much of it when I listened to it back. So from the little bits I could hear and what I could remember, this is what was discussed:
- The main takeaway was that I should split my work into 2 projects, 1 based on m poetry, the other to do with “Snapshots” and “Perfect moments”. Focus on the latter for now, continue with the former at a later date
Snapshots
- Think about why and what it is, the almost fear we can feel of not having a camera with us at all times to record every moment – perhaps there is a lack of trust in our memories
- Think about illustration v fine art. Look at John Russel’s work, he does illustration and does not have a problem with illustration being a part of fine art
- Pay attention to and try to have a colour palette – BRIGHT colours! Think about colours that work well with and against each other – e.g. a red next to the orange of Chi’s painting would just knock it back. Should purchase tubes of bright acrylics that would be hard to mix. E.g. Bright pink, Cerulean blue, turquoise (try to listen to recording for suggested brands). Bright solid colour backgrounds make the subject stand out
- Splats of paint in the background colour definitely work – they are subtle enough, add texture, layers, detail – it makes the painting more interesting to look at, especially up close, similar to visible brush strokes and the visible paint outline
- Mount paintings/drawings on mdf or hardboard
- Each individual drawing/painting needs to be named/titled – something which describes what is happening or what I was thinking/feeling at the time I decided to take the snapshot – without directly spelling out what can be seen in the image. E.g. ‘Missing Darcy’, or the name of the song being listened to, ‘Moments I’m missing – Nina Nesbitt’ or ‘Waiting for the bath to run’. Names can be displayed, numbered, on one plaque/sheet alongside all the works. Some titles can even be derived from lines of my poems
- Need to discuss, question, why would one paint from a photograph? Why not hyperrealism? Is it just for the purpose of having a reference? Does the form convey meaning of its own, commenting on the paused moment? Perhaps to further memorialise the perfect moment.
- Leaving some as sketches and not painting them or only partially painting them, it works. What effect do they have, being displayed alongside each other, both finished and unfinished? Are they even unfinished or just simply complete enough?
Poetries
- Feels like it needs to be developed and worked on more, not quite there yet
- It could evolve into a collage of some sort. Try that thing where if you don’t like a painting, you rip off the part that is working, position it on a new “canvas” then start again, but maybe with a completely new painting or modifications of the original
- It seems to speak to a time, a halted process. Though you may stop time in that one specific moment, there will always be a million and one things going on, still existing in that moment, in your mind, all around you
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