Visual responses to researched artists & reflection on my work in relation to theirs.
- martine75
- Feb 9, 2021
- 4 min read
Updated: Mar 17, 2021
Link to - Responses A1 pages in my Sketchbook Part One.
Gary Hume
I have mainly copied Mr.Humes's work, then arranged it slightly differently.
I have made an individual response with one painting of my friend, Ashley (bottom middle), I really didn't manage to capture a likeness though!
The line drawing was relatively easy to achieve. I thought Gary Hume's flower drawings were worth copying too, I liked them because of their loose nature.
I found the process similar to paint by numbers, and the technique is exact and all about getting the media flat and with a perfect finish. I am not a 'neat' artist, but I appreciate that I need to find that out, in my own way, with discovery and experimentation.
I don't feel excited when I paint a flat surface, and it has no energy for me. I like his use of line in his drawings and enjoyed the fluid play with that process. I understand that flatness can complement or underpin any painting or work.
What have I learnt?
I have learnt that I can break down a portrait into shapes and begin forming and developing that as a concept. I can use line in the same way.
Ian Davenport.
This was fun! Why?
I could experiment with oozing, flowing, silky, shiny and runny paint.
My first response was to get the correct consistency of paint to pouring medium. I used a squeezy bottle and mixed acrylic with the medium. I shook the bottles to mix them and sprayed the wall with paint (I forgot to put my finger over the top of the nozzle!).
I curved the paper's bottom edge to achieve the 'flow puddle' once the paint had run down. You need to be extremely precise with your colour choices and plan what you want to accomplish before you start (which I wasn't). My experiment was a response to Mr Hume, and therefore, a learning curve.
I realised quite quickly that the streams of paint were fluid and therefore mixing after time.
If I were to accomplish this process, I would need to consider;
Paint consistency, i.e. ratio of pouring medium to pigment
The space between the streams of paint
The gradient of the paper's tilt to speed/slow the paint flow
The surface of the support (shiny would increase flow and straigness of that flow)
I took some photos and video of the process. I found it relatively easy and very enjoyable.
I will definitely use the pour technique for my work in the future because I like the result so much.
I also experimented with;
spray paint and drips.
running paint then tilting the paper to change its direction.
What have I learnt?
I have learnt that I can use pouring medium to speed up the paint flow. The consistency of the paint is very important for the mark you want to make. The tools you use to apply the paint and the support you use is the key to success for this process. Always read the label of the medium you are using to obtain the best results.
I think that when I compare my achievements to Mr.Hume, I definitely come second! With planning and practice though it's not an unachievable technique. It would be great to try it on a big scale.
Jane Callister
This process started with reflection. When I looked closely at Jane's work, I saw fluid pours or tilted drip markings.
Did I need to layer these, drying them in between or maybe not?
I enjoy trying to determine the artists process, it's like a puzzle that needs to be unlocked.
I would experiment and discover.
I used;
Inks
Acrylic Inks
Some of the remaining pouring mediums on squeezy bottles
A hairdryer ( to push ink quickly over the page)
A small spray bottle with water
I discovered I needed to dry each layer as some paint was mixed with pouring medium.
The best outcomes were with a blended base layer of acrylics to give more depth to the work. The blue tendrils (in the top left piece above) remind me of a seascape, the other orangey hued works are more firescapes or arid landscapes. Not too bad when I compare my work to Jane's.
What have I learnt?
I can make not only organic runs of paint but geometric by tilting the page and 'steering' the paint flow. A hairdryer is a great tool for this process too.
Although I have just played and discovered with this process with planning the layers and construction of a landscape, is within my grasp.
I enjoyed the fluidity of the paint flow, and the layered outcomes.
Cathy Lomax
I used watercolours to respond to Cathy's work, mainly because I haven't used them much so far.
It's good to get out of your comfort zone, sometimes, I think.
I made copies of a couple of her portraits, used a photo of my friend Gina (top right image), and sourced an image of Audrey Hepburn from the internet.
Diffusion was the key here, building up the tones and using a sensitive touch.
Audrey Hepburn (bottom middle) was my favourite. I like the composition, colour and striking pull of her gaze. I like those little bleeds of watercolour and small messy stained looking marks. I mixed purple and black watercolour for the dark tones to bring richness, and yes, it seems to bring an underlying velvety warmth.
I cut out some black paper borders with those scissors your Mum used to have when you were little (for the reason that none of us will EVER know!) to bring a glamour/movie feel to the page.
Not bad, in comparison. I would like to try this in open acrylics, wet in wet with retarder, as I feel this medium would emulate the work of Cathy's more closely as hers is is in oil paint.
What have I learnt?
Being sensitive and painting in the style of an artist by copying is good practice. Using their marks and examining their making, develops my own critique, process and learning. Although, I feel my portraits are fairly successful, I am not excited when I paint people faces.
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