German-American architect Mies van der Rohe popularised the term less is more, which came to exemplify the modernist approach - sparse, functional, minimal, unadorned; beautiful in an austere way. In the history of painting, periods of visual parsimony are often to be followed by more excessively elaborate offerings, and even within the outputs of individual artists there is a tendency to follow quietness with loudness and vice versa. 'Less' might well amount to removal or refrain - and 'more' might well amount to addition and profusion, and yet they work in tandem. When and why to stop painting are therefore judgement calls, dependent on intention and what you hope to see.
Note: For this exercise you can reuse an earlier work, or else you can make a new work for the purpose of reusing it here.
Take an existing painting (preferably one you don't think too much of, or eel doesn't work). If you've made a new painting for this purpose, that's fine.
Identify an area of the painting you feel least happy with and block it out completely using a colour of your choosing and a large flat brush. Then, either leave it blank (redacted) or else repaint it afterwards (or odify the redaction wet-in-wet).
Continue with this process, removing sections, repainting if you feel inclined to, and ensuring that you assess the painting as a whole at each interval and decide which area has to go next!
Take this through at least 10 such redactions. Your 10th (or final, if you've taken it further) will determine the finished form of the painting, so redact wisely.
Using an old painting.
This painting was produced to respond to Gerhard Richters work in my last course. I like the picture but only in parts. In my opinion, there are layers of spread 'wet in wet' colour that work well together (paint and mark-making wise).
Because I have not seen this work for quite some time, I realise there is a thread of an idea, a stepping stone I couldn't see then but can see now. The materiality of the paint and process has fused or blended to create energy and tension. I can see that redaction can only improve and highlight the parts of the canvas I want to be in the forefront. So the reveal will be those parts that I want you to see, those lost, forgotten parts.
Found canvas 100cm x 50 cm.
Process
I used gilding fluid and covered areas of the painting. I knew the brief had said to use a big brush, but I somehow had the instinct and feeling that gold leaf would compliment the green and orange paint.
Found painting with gilding fluid over certain areas.
Close-up parts of the painting I want to save. (Below)
Why do I want to keep them?
The intriguing parts where the mark-making is exciting and a pleasure to see. The variation in mood and emotion within the material. Sweeps, mixes and dapples of paint surf over the plane. Would that be a good title? The words of my tutor are in my head- using words for a title is acceptable.
Close Ups.
I am adding gold leaf in layers, Paynes grey and deep teal acrylic paint, and gilding paste to redact and conceal. Over and over again. The marks are unworldly and need to be the centre of the action to take the viewer into my world.
I used the sides of the canvas to extend the process of the metal leaf because the painting is an object for me, not 2D but 3D.
Final Image
'Sweeps, mixes and dapples beneath the metallic.'
Acrylic and metallic leaf on found canvas 100cm x 50 cm
What works well?
Using redaction has allowed certain details to stand out more prominently and become the focus of the viewer's attention.
The tension depth and surface tension are exciting, and when the light bounces on the metallic surface, this adds a further dimension to the piece.
The colours work in harmony with each other complementing the composition.
What would I do differently?
A larger scaled work would be more attractive.
A series of works connect or complement each other (gold, silver and copper metallics maybe?)
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