What painters do with edges is a modern or even a contemporary concern. For the most part, this has to do with the prevalence of framing in earlier paintings, which took care of the problem. It also has something to do with the mode of painting, and a considerable amount to do with the development of abstract painting, and, in particular, a later focus on opticality - on what is seen.
As painting becomes less, in a reductionist sense, its remaining visible elements (its component parts) become increasingly privileged. The minimalist foregrounding of the entity of the work as object acted to further unveil that which, though not part of the 'image', formed a visible part of the object containing the image, namely: the edge. And so, what is a painter to do?
This exercise is an encouragement to consider not only what happens at the periphery of the painting's face, but also at its edge - the edge that sits at a right angle to the sur(face). Seen from the side, the edge becomes the facing surface, and as we move around a work of painting its status as object becomes more apparent (reconsider Project 2: The Object of Painting).
Note: For this exercise you will be required to paint onto a support or supports with a pronounced thickness (or drop), so that the edge becomes very much a visible part of the perceived whole. A deep canvas, or a battened board would be ideal. The painting can be an old one - preferably an abstract painting - or it can be specially made for this exercise.
Try out several solutions to the problem of presenting an edge.
These could include: leaving it bare, colouring it in accordance with some sense of what is happening on the surface of the work, painting it a neutral colour, or black, or white, or grey. If a new painting, you could simply let the paint roll off and drip down the sides of the support, leaving it as it lands (the truth to materials approach). Alternatively, you could frame the work, or adjoin it to another work, or hide it in some other way.
Ensure that you try out several variations, and that you document your explorations as you go. At each stage stop, look, and record.
Note: Next time you visit an art gallery, consider what's happening at the edges of the paintings, and survey them in relation to the other elements of the work. Do abstract painters do things differently from figurative painters, and, if so, what?
When considering the edges of paintings, abstract and figurative painters approach them with different considerations and intentions. The treatment of edges can significantly impact the overall composition and visual experience of a painting.
Figurative painters;
Aim to depict recognisable subjects or narratives.
The edges of their paintings often serve as framing devices.
They provide a clear boundary that separates the depicted scene or subject from its surrounding environment.
Pay attention to the placement and sharpness of the edges to create a sense of realism and to guide the viewer's attention towards the focal point of the painting.
Smooth and well-defined edges are commonly employed to enhance the illusion of depth and dimensionality.
Abstract painters;
Have different objectives regarding the edges of their paintings.
The treatment of edges in abstract paintings can vary significantly based on the artist's intention and style.
Some abstract painters extend the painting's elements beyond the edges, blurring the boundary between the artwork and its surroundings.
They create a sense of continuity and expansiveness, encouraging the viewer's gaze to explore beyond the physical confines of the canvas.
Other abstract painters may deliberately define and emphasise the edges of their paintings.
Using bold lines or contrasting colours to demarcate the boundaries creates a sense of tension or containment and reinforces the artwork's presence as an object in itself.
Response to Gerard Richter (with a wooden edge).
I had researched Richter before and liked his squeegee process of making. I decided to vary his approach by making a small painting with a similar technique. Dragging the paint, yes but using acrylic from the tube, not oil.
Why?
Why not? Experimentation was the key here, and I was excited to start.
"Richter leaves his paint to dry between different layer applications. Sometimes that is because he wants to muse over his composition, refresh himself or his idea and perhaps re-work it or possibly because he knows it's necessary to do so in order to create his desired surface effects".
Tate interview - INTERVIEW4 NOVEMBER 2011-Discover the secrets behind Richter's 'Richter'ssqueegee' abstractions.
Gerhard Richter, 'Forest 3' ('Wald 3'), 1990, tate.org.
Materials
Acacia wood round serving platter 17.8cm x 17.8 cm
Acrylic paint - orange umber t/white lilac
Small flat file tool (for swiping the colour)
Credit card (for swiping the colour)
Process Images.
Layers of sweeping the raw paint across the surface at a shallow angle to the wood.
The paint mixes and hesitates, catches and produces those characteristic tense abstractions of the surface.
Final sand of the wooden edge. Why?
Some of the paint had caught onto the edge, and I wanted it to contrast with the painting.
Recharger Third
Acrylic and glaze on acacia wood, 17.8cm diameter.
Encaustic painting edge.
I wanted to experiment with wax/encaustic again. I liked the technique and textured raised surface quality. Maybe score into the material at the deep edges and let paint or wax drip down the side, maybe?
Materials
Encaustic wax pellets
Broad brush
Geometric stencil (to mask the wax from the board support)
Heatgun
Process Images
Whilst in the process of encaustic painting with hot wax, I reflected on a film and the iconic lines in that film which related to the word 'wax'. The Karate Kid film (Google it if you have never heard of it) teaches us a valuable lesson through the iconic 'wax on, wax off' scene. The seemingly mundane task assigned by Mr Miyagi to his student, Daniel, holds a deeper significance. It illustrates the importance of dedication, discipline, and embracing the learning process. Daniel initially views the repetitive motions as pointless chores, unaware of their purpose. However, as he continues to practice and perfect these movements, he discovers that they are the fundamental building blocks of karate techniques. The lesson of 'wax on, wax off' teaches us that true mastery is achieved through humility and commitment to the fundamentals, even in the face of adversity or monotony. It reminds us that every step, no matter how small, is an opportunity for growth and progress.
I thought of the geometric lines/shapes of Piet Mondrian and then balanced the rhythm of the piece with organic overlays of metal leaf and more dreamlike areas of molten wax. Franz Kline's broad strokes of sweeping mark-making gave the piece energy.
Foundations
Encaustic and metallic leaf on deep plyboard 20.5 x 25.5 cm
What have I learnt?
I can use the deep edge for many purposes, for example;
Add text or symbols to contribute to the narrative.
Allow the material to flow or melt over the edge, bringing expressive qualities to the piece and establishing a visual frame/boundary or un/containment.
Make a bold statement with colour, for example, compliment and add interest to the visual composition.
To evoke emotional and psychological responses. For instance, jagged or uneven edges may create a sense of tension or unease, while smooth and flowing edges can produce tranquillity and harmony.
The treatment of edges, such as sharp or blurred transitions, can also influence the perception of depth, proximity, or movement within the painting.
The treatment of edges can contribute to the overall artistic style, from traditional and realistic to abstract or unconventional.
I can abstract parts of a process and copy an artist's process but in a different way. For example, I am making Richter's squeegee paintings on a tiny scale, on wood and a tondo. A variation on the original.
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