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SUPPORTING MATERIAL

FOR PROPOSAL FOR FUTURE STUDIO WORK

to be carried out in Module AR7007

I am developing work in three forms: painting, printmaking and sculpture. I base them all on sketches drawn and painted in the field, or from images extracted from video clips.

[N.B.: all images are from 2020.]

Observation
I used several plein air graphite or charcoal sketches as direct sources for some etchings.

In this period of study, I used oil sketches as colour references for paintings of other views drawn from video stills.

I gather video with little technical care, so have amassed a large collection of mostly unusable material. However, by poring over it all - frame by frame when required - I identify promising motifs for future use. I always develop compositions as drawn plans before painting. (Though I refer to these only rarely once I have established the structure as a loose under-painting).

Most of my sketches are never developed explicitly. Their chief value lies in the looking that they call for.

​All these activities will continue to fuel my future work.
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Plein air sketch: graphite and watercolour, 25 x 35 cm
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Plein air sketch: oil on paper 12.5 x 18 cm
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Plein air sketch: graphite and watercolour, 8 x 35 cm
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Sketch from video: graphite, 21 x 29 cm
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Plein air sketch: charcoal, 20 x 55 cm

​Painting
I conceived and presented the paintings that I made in previous modules of study as multi-part sequences, ordered by time or geography. I have further developed this approach with my six-part painting, 'Bright Morning Walk', and with a small series of themed paintings depicting the autumn.


A continuing hope is to develop my range of painting techniques. I mean to increase the range of marks available to me. To that end, I made several studies after others' work, plus some mixed media pieces combining drawn marks with loosely painted colour.


I will continue similar activities as I further develop painted works. I will continue experiments in using larger panels, and consider how to use paint in three-dimensions too..
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Early Morning Walk: oil on canvas on six boards, each 21 x 38 cm, work in progress
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Oil on paper, 38 x 45 cm
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Oil on paper, 43 x 39 cm
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Mixed media on paper, 28 x 48 cm
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Autumn: oil on canvas on board, 46 x 99 cm

Printmaking
The serial presentation of drawings in my small sketchbooks, plus the consecutive views of a well-trodden walk, combined to suggest that I create a simple book of prints. This will gather works with a clear logic and make a pleasing whole of otherwise disparate parts.

I want my prints to capture the liveliness of the outdoor sketches on which they are almost all based. My initial plan to combine a black impression with colour was disappointing. It failed both technically and aesthetically. My solution has been to print each image using a single colour (no black) instead.

After early challenges I have successfully incorporated letterpress text. I will present some prints with text and some without. I will also edition some prints singly.

I have found solutions to most of the practical difficulties involved in this project. The remaining challenge is to find time and opportunity for the considerable work required to complete it.
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Black ink only, 9 x 26 cm
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Black ink over lithographed colour
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Concertina book trials, various dimensions
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Black ink over mono-printed colour
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Coloured ink, with letterpress text
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Concertina book trial, with two prints, each of single colour
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Soft-ground etching: coloured ink on paper, 8.5 x 25 cm

Sculpture
In two dimensions, trees necessarily appear as variously proportioned fan shapes. Their space-filling quality is hard to depict. The forms of my sculptural pieces are an attempt to capture the surprising volume that trees fill.

Over this course of study I have learnt or reinvigorated a wide range of skills. Hand-building in clay, glazing, and slip casting. Plus, recently, mould-making with latex and silicone rubbers, and plaster casting.

I can best describe the privilege of having been able to play like this as nothing more (or less) than plain fun. I have tackled things one step at a time with no preconceived idea about an end product at any stage. I am now poised to make multiple copies of these forms, so am faced with decisions about what to do with them.

I may prepare wax copies from which I can commission bronze casts. More imaginatively, I am conceiving each small plaster copy as a laboriously prepared, three-dimensional canvas on which to apply paint or dry media. I may be able to use marks  from my existing vocabulary to create a polychrome sculpture that will complement and enhance my other work.
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Tree forms: glazed clay, largest sphere 10 cm diameter
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Mould-making
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Tree form: plaster, each 9 x 12 x 9 cm
‹ Proposal
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