This Week Colour

If last week was all about value, then this week has been all about colour.

After a few months of consolidation I feel like I am in the middle of another period of development in my art practice.  I’ve been aware over the last three months or so that I’ve not been as keen to go into the studio, the work hasn’t been flowing quite as easily and I’ve been feeling slightly dissatisfied with the paintings I have been making.   Reflecting on this, it seems that I’ve not been that excited by what I have been making. It hasn’t felt that new, but more of a variation on a theme that began about a year ago.   And I haven’t quite known how to change that.

So I have been thinking, and painting and getting feedback, and painting and thinking some more.  And then I watched one of Nicholas Wilton’s short videos on Colour and something clicked.  I already had knowledge and awareness of how to de-saturate colour to reduce it’s intensity.  As we do this the colours adjacent will then be seen with greater contrast. But like many things that are part of ongoing learning and development we can come at something we think we already know and with a new context experience it differently.  We can find a different perspective and discover something new or that we hadn’t quite grasped.  Sometimes we experience a greater level of understanding and integration.  So, the video was something of a light bulb moment as several things fell into place and I understood why I’d not been liking my work.  I began to get some ideas about how to change it.

Working with Limited Palette

Firstly I had been working with limited palettes. Generally no more than three colours, with variations of light and dark.

I had also been wanting to bring in a sense of space and simplicity to the design of my work.  But because the colours were so limited, the paintings were feeling too simple. As a result I was then using lots of texture to compensate and create more interest.  Resulting in work that was beginning to feel the same or certainly very similar.

When I did use more colours, because I was working with paint that was only slightly de-saturated the work would feel garish.  And rather than think to de-saturate the colour further,  I would paint over it and go back to the limited palette. And round again.,

 

So, armed with a greater understanding  I have playing with de-saturating colour and it has felt very different. I think  I have a lot still to learn about how to do this, make it work effectively with how I paint. Design takes on a whole new set of exciting challenges.  I definitely feel a sense of lightness and space that wasn’t so easy to attain before.  And I am experimenting in new ways with new ideas.

Does this experience sound familiar to you?  Have you found something in your art practice that you revisit and gain new understanding each time?

Useful Links

See some of my work at the Chatsworth Exhibition during January and February with Peak District Artisans.

Sign up for my email challenge which has a exercises all geared to support you in boosting your artistic confidence.

 

 

 

 

 

 

 

 

 

On Capacity and Connectedness

This post is about some discoveries about capacity and connectedness that emerged from a recent period of struggling to paint.

I’ve been having a tough few weeks. My art; often a refuge, delight and source of energy has not been going well. I have been feeling frustrated, irritable, comparing my work to others and feeling self critical. As a therapist and coach I recognise this as being in a defensive pattern because I am feeling vulnerable.  I am feeling vulnerable because there is a lot going on in my life at the moment, both good and not so great.  Across all areas of my work I have been very busy.  We have had really successful start to the year in my psychotherapy training business (TA Training Organisation).  In my art a new gallery,  Number Four Gallery in St Abbs, have taken eight pieces of work for their Christmas Show. I have been accepted to join Peak District Artisans. I exhibited at the local Artist and Designer Fair in Buxton.

However, in the midst of these positive events, there have also been some difficult things happening that are affecting me emotionally and psychologically. So I have retreated from myself and others in a protective way that is an old unhelpful pattern. Which brings me to the point of this post and the learning I’ve gained from this experience.

So, what is the learning I’m wanting to share?

Firstly about connection. If we are making authentic art this is an expression of part of self. Then it seems to follow if we are not fully connected to ourselves we will be disconnected from our art.  As I think back over the last couple of months this is what I have been experiencing.  In my art making, in the studio in front of the painting, I was going outwards to what others were doing and looking to repeat what I had already done, rather than looking inwards at what I felt inspired to do. My choice of colour, mark making and ways of painting were not what I truly felt in the moment because being disconnected from myself meant I was disconnected from what I felt.  How important it is then to our art making to stay connected to ourselves and the personal choices we want to make.

Secondly scaling up and scaling down.

During this period the only thing that felt “like me” were some colour studies I was working on.  Using an exercise from Louise Fletcher fellow artist, (see Louise in This Painting Life on Facebook) I had about 15 different small colour studies I was playing with. What I was noticing was that the bigger works (a couple of 20×20 inch paintings)  were not resolving themselves.  Again, on reflection, I can see that it was almost as though I didn’t have the capacity to do anything bigger.  That not only does making bigger work require us to scale up in terms of the tools,  materials and composition, it also requires us up to scale up in terms of our process as well.  Being able to hold and contain the experience of something bigger takes capacity.  For larger work to be successful it needs to feel integrated as a whole rather than something that is almost a collection of smaller works on a bigger canvas.  So in the process of making larger works the artist needs to have creative energetic capacity to conceptualise the whole.  Which is not about planning the outcome but more about having mental space and energy for the art-making process.

Are there any useful “how to’s” from this experience? Well for me a recognition that I have a busy life and so there will be times when I don’t have capacity for major works. When that happens it’s ok, and that art making can still happen, just on smaller scale. The “how to” from this is acceptance of personal limitations.

Does this tally with your experience of moving between larger and smaller works?  I’d love to hear how you maintain your connectedness?

All colour studies will be available to buy at my next exhibition in Buxton at the Pavilion Gardens on Friday 23rd, Saturday 24th adn Sunday 25th of November.