Exercise 3: Your Practice/SUMMARY

Now consider Exercises 1-2 in relation to your own developing practice.

Think about what the digital contributes to painting today, what it does, and how painters can use it. Consider its look, its uses and its conveniences. How do the digital and analogue interrelate to communicate ideas? What might real and unreal mean? At this juncture, it is important to look closely at your own uses of the digital, in past paintings and more generally in life, and also at the uses of the digital over recent decades of arts practice. Imitate and be inventive as you go!

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Digital and Photographic Experiments.

I am intrigued by the artistic approaches of Gerhard Richter and Duncan Mosley, who have demonstrated that painting on both photographs and digital prints can achieve remarkable outcomes.

I am curious to explore the possibility of incorporating similar techniques into my work.

Recently, I submitted my images to an online (digital) printing service, and as a result, I received two impeccably produced foam-backed tondo digital prints on matte photographic paper.

Digital tondos.

Below, the Sculpted Whiteness tondo print is shown with its source painting.

I am undecided about whether to enhance the pieces. I will reflect on and discuss these concepts with my tutor-

• Overpaint clear sculpture gel to enable the image underneath to be seen through the layer of applicated gel.

• Redact the tondo with a broad opaque sweeping gestural mark/s.

• Add a frame 'ring'/support to make the tondo 3D.

• Do nothing and curate them as they are (possibly order more tondos)

Infinite Void Video

I want to push the work further with the digital influences of Fischinger, Breder, Duchamp, Richter and Campus. I glitched and manipulated the Infinite Void.

Digital Portraits

I pushed the portrait process digitally by using the newspaper article as inspiration to paint. I took risks with a loose connection to 'digital pointillism' to further redact and abstract the facial features of Rosie Jones.

• Serenade is an artwork created through a process of digital manipulation.

• A traditional portrait as its foundation, but capturing the essence and character of the subject with digital abstraction.

• The circular format allows for a unique presentation, drawing viewers in and through.

• Finally, a digital tondo portrait could be painted with traditional methods (if so desired).

Serenade

Digital tondo portrait.

Question

Would a series of digital tondo portraits be a consideration?

Possibly, I like these more than a painted portrait because they are intriguing and unique.

Summary

In my artistic practice, the boundaries are integrating and becoming a hybrid. Photography, digital prints, and videos are now included in my paintings. This challenges the traditional distinctions between sculpture, photo, photography and painting. I enhance my pieces' visual impact and meaning by embracing glitching and digital manipulation through image software.

Inspired by influential artists like Johns, Duchamp, Breder, Richter, Campus and Benglis, I take risks with my imagery, incorporating hybrid elements like beeswax and clay and experimenting with various supports, transforming my work from 2D to 3D. The interplay between the digital and analogue realms becomes another means of communication, allowing my ideas to push traditional limitations and unlock new expressions and inspirations.

As the digital medium continues to evolve, it has become an indispensable tool in contemporary painting, offering artists like myself a vast array of possibilities in appearance, application, and convenience. Through this exploration, I constantly evolve as an artist, infusing my work with contemporary relevance and meaning. The journey of combining digital and analogue elements has enriched my artistic expression and identity, pushing the evolution of my painting process.

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