My last thoughts on the monochrone challenge are that it was fun! I produced a lovely series of small paintings that I am pleased with as examples of fresh, spontaneous abstract work.
What else came out of the experience? Well, it was a bit of a distraction over the summer. The challenge is an example of how I sometimes have a bright idea that I go full stream ahead with filled with enthusiasm, without fully thinking about how it might feel to carry it out. This process is something that shows up for me in life every now and then. It is something I am learning not to do. As August is generally my month off the challenge was a work project that felt like it interrupted really important leisure and down time. The challenge itself was great, the timing was not so good. Something to note and remember for my next project.
What else did I notice? About the work itself, rather than process. There were a lot of very simple compositions. I find that I want to take some of the simplicity of the forms and transfer this kind of idea across to my larger work. This is definitely a direction in which I am heading and noticing this happening in some of my larger paintings.
I also noticed that I began to use some simple patterns in some of the pieces. This is something I have wanted to explore for a while and which I am delighted to see show up in my work. I’m in the process of developing some ideas on how I’m going to do this with more focus and direction. My intention is that it will be a sketchbook project that I will work on over the next few months. Expect to see posts on Instagram and Facebook of the work as it happens.
This whole collection of paintings, there are just under 30 of them as I have sold a few over the summer, stimulated some thinking about anyone who is new to collecting art and where to start. I’m hoping these small paintings might make good starting pieces for someone who is considering buying original art rather than prints or reproductions. The beauty of these small pieces is, as inexpensive works on paper they are not a huge investment for someone new to buying original art and developing their taste. They also look great grouped together in twos, threes or fours to make a larger display with more impact.
You can see all of the paintings from the challenge on my website here. They will also be with me at my next exhibition at the Artist and Designer Fair Buxton Pavilion Gardens on the 23rd and 24th of November 2019 which is my last exhibition before Christmas. Looking for an unusual present? These small paintings could be the ideal Christmas gift.
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The main thing I’ve been thinking about this week during the Monochrome Challenge, is the process of completing these small paintings every day. Over the last week I have had a few things on. As a result, painting time has been at something of a premium. This has meant there have been a couple of days when I have not managed to get to my studio until quite late in the evening. Then to be facing the blank page when I was probably tired and not feeling particularly energetic has been difficult. On the days when I have been able to get to my studio early, it has made big difference in the ease with which I have been able to complete the painting and the experience of doing it. My engagement has been very different. This holds true even though these paintings are only small.
This experience has also got me thinking about a broader question in my art practice. Do you/ I paint before or after. Does the fun of painting come before other tasks and work, or does it come after.
I know I have something of an Until process. This is lived as “I don’t get to have fun (ie painting) until everything else is done.” What this looks like on a day to day basis is I will write up my To Do list first thing in the morning and not get to my studio Until the main things on it are done. I will often not getting to my art until later in the day, sometimes late afternoon. Then I might be feeling tired, I will often have been pretty busy most of the day and I am definitely not as energised, and possibly not as creative, as I am first thing in the morning.
The focus of the challenge has really highlighted this process to me. It’s got me thinking about how I can work differently to take advantage of my creative energy first thing in the day.
I’m going to need to put in place some simple processes like keeping my To DO list to hand in the studio so I can add to it as I remember things. I think also making an agreement with myself to do the things that are on it that feel like they are both important and urgent. By focusing on priorities I can allow the other things to wait. And knowing that’s ok because getting to my art IS a priority.
I think it is interesting how our personal psychology can sometimes get in our way. What is your work/fun process in life? Do you have fun before or after? Have you needed to make adjustments to support yourself in your art practice?
I am at the end of week two of my Monochrome challenge. The challenge I set myself was to complete a small, 10cm x 10cm, abstract painting everyday during August. I could use one colour if I wished. So, how has this second week been? Two big themes this week.
Painting on the Run
With the Art in the Pen exhibition in Skipton on Saturday and Sunday, there were a couple of days when I wasn’t sure I was going to complete a painting. I had taken a small kit of materials with me to Skipton. This was made up of a small box with black and white acrylic paint on a stay wet palette. I do this by putting a damp cloth in the bottom of an airtight sandwich box. I cover the cloth with baking parchment. The paint then goes on top of the parchment and the moisture from the cloth underneath will keep the paint from drying out.
I also had three brushes, a small palette knife and one single colour. In this case, quinacridone gold which is transparent and fantastic for glazing. the last few bits were a selection of oil pastels all in the brown/orange colour range a charcoal and graphite pencil.
Fortunately Friday morning I was up super early so I was able to complete a piece before we got on the road. It definitely helps my creativity to paint early in the day when my energy is fresh.
Saturday was more of a challenge after a full day of chatting to people and dinner out. However, I got the main ideas down for the piece which felt like enough. The difference in the process of painting between 6am on Friday and 9pm Saturday was huge. Early wins hands down.
The second thing I noticed was how much I use colour to provide interest. Which it will do of course. But, this was a monochrome challenge so I decided now I was back in the studio to do the next two or three paintings in black and white and forgo the option of using a colour. To focus just on value as the interest in the composition. It has been a reminder of how this can be really useful as an exercise in thinking about design. The elements in a piece are thrown into stark relief when a painting is solely in black and white – both good and not so good!
Have you got a favourite piece from this week? Hop on over to the gallery to see all of the paintings from the challenge so far. Week three is coming up and what next?
Asymmetry and me. that seems to be the theme of the week for this first seven days of my summer Monochrome Challenge. I have successfully completed my first week of mini, 12 x 12 abstract paintings in black and white with the option to a use colour if I wish. So, here are the 7 paintings from the week and on the whole it’s been great fun and very satisfying. In this first week here are some of my first reflections on the process.
What have I learnt or noticed so far?
It seems I love asymmetry, hence the title of this post. As I think more about this, there is something incredibly satisfying to me about finding a point of visual balance in a painting. Particularly when there are elements in the composition that are vastly different in size and visual weight. How do I know when I have reached a point of balance? To get to that point of balance I think about positioning, visual mass of the elements, value, movement of the eye around the piece. These are examples of the kind of questions I use to assess a piece. Then I use an intuitive sense that something “feels balanced.” I certainly know when it’s not because that sense of satisfaction I mentioned a few lines ago is missing. And when it’s missing I know I’ve still more work to do.
I was wondering when I began this challenge how I would feel about using so little colour. In recent months I’ve been very focused on colour particularly exploring de-saturating colour and colour harmony. In my larger work I’ve been challenging myself to use colours that are unfamiliar or to put colours together in new ways. It’s been interesting to note that my use of colour in this challenge has mainly been to add in simple dramatic marks. However it’s only week one so that may change.
Drama and Edginess
Bringing more drama and edginess is something I am focusing on throughout my work. It feels like this challenge is proving to be a great opportunity to explore this further and support me in considering how I might achieve this in my bigger work. So far I am noticing that some of the elements that are either dramatic or edgy to me are things like the contrasts between dark and light, simplicity and complexity. Strong lines and shapes also appeal as well as marks that are bold and have an unfinished and rough look to them
What are some of the elements in the work that you have noticed this week? And of the seven paintings completed so far do you have a favourite? I’d love to hear from you.