Appendix 1: Tutorial Notes
#1 SP Wk.34 (w/b 15/06/20)
Of her own recent paintings she expressly said that the 'back stories' (about the myths) 'don't matter' and that 'they have to work as paintings'...
SP's work is clearly constructed. Seeing her working drawings for the current myth-inspired paintings made this obvious, as did the collaged and watercolour sketches in photos of the walls of her studio space for the large 'Rainbow' painting...
...she made the same point as CW in an earlier tutorial, namely that, as a painter, you make things up. Also, that the subject is probably 'not what I'm looking at' but what I feel about what I'm looking at.
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Of her own recent paintings she expressly said that the 'back stories' (about the myths) 'don't matter' and that 'they have to work as paintings'...
SP's work is clearly constructed. Seeing her working drawings for the current myth-inspired paintings made this obvious, as did the collaged and watercolour sketches in photos of the walls of her studio space for the large 'Rainbow' painting...
...she made the same point as CW in an earlier tutorial, namely that, as a painter, you make things up. Also, that the subject is probably 'not what I'm looking at' but what I feel about what I'm looking at.
More...
‹ Research
#2 MN Wk.37 (w/b 06/07/20)
'You want it to be everything... you're showing me three [the selected details on our shared screen at this point], it would be wrong to show me one of them, so that's why I'm saying, 'You want six, you want three...' You don't even necessarily want to blow anything up, you would just want there to be that... experience of continuous change and that slight confusion about what to pick and what to choose because they are all, in their own right, important.'
This, too, can apply to my three-part painting at the boundary between town and countryside.
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'You want it to be everything... you're showing me three [the selected details on our shared screen at this point], it would be wrong to show me one of them, so that's why I'm saying, 'You want six, you want three...' You don't even necessarily want to blow anything up, you would just want there to be that... experience of continuous change and that slight confusion about what to pick and what to choose because they are all, in their own right, important.'
This, too, can apply to my three-part painting at the boundary between town and countryside.
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‹ Research
#3 AM-J Wk.41 (w/b 03/08/20)
...I showed AM-J my completed 'Panel A'... we laboured together over this picture, focusing on the conjunction of the two images that it contains... the chief offender was the central intrusion of the tallest stalk into the picture behind. There was simply too much white around it. But of at least equal offence was the inclusion of an open space of uninterrupted white below a straight-edged boundary. The matter was raised sensitively ('Don't hate me for it,' she said) but the gist was that this device failed and so I should repaint the panel...
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...I showed AM-J my completed 'Panel A'... we laboured together over this picture, focusing on the conjunction of the two images that it contains... the chief offender was the central intrusion of the tallest stalk into the picture behind. There was simply too much white around it. But of at least equal offence was the inclusion of an open space of uninterrupted white below a straight-edged boundary. The matter was raised sensitively ('Don't hate me for it,' she said) but the gist was that this device failed and so I should repaint the panel...
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‹ Research
#4 RL Wk.44 (w/b 24/08/20)
Having indicated that my decision to depict a particular scene might [not be] complicated, RL challenged me: 'Well, in that case, why not just paint without this mixed media?'
TH: 'I think it's me saying, if I were to try to record this whole sweep (of the view) from left to right in one way that would be to miss quite a lot of what's there, and simplify it unhelpfully... Life isn't simple.'
RL: 'Deceptively simple.'
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Having indicated that my decision to depict a particular scene might [not be] complicated, RL challenged me: 'Well, in that case, why not just paint without this mixed media?'
TH: 'I think it's me saying, if I were to try to record this whole sweep (of the view) from left to right in one way that would be to miss quite a lot of what's there, and simplify it unhelpfully... Life isn't simple.'
RL: 'Deceptively simple.'
More...
‹ Research