Preparation: Process Painting

Introduction

I got informed by my tutor after last assignment feedback that the sequence of intermediate painting steps can be more than merely a narrative and illustration of my making.

My two more successful examples from Part 4 are the one from  Project 1 – ‘Hard and Soft Landscape

Stefan513593 - Project 1 1 - Exercise 2 - work in progress

Stefan513593 – Project 1 1 – Exercise 2 – work in progress

=> with a narrative and emulation of natural phenomena

and the other from Project 5 – ‘Squaring Up‘:

Stefan513593 - Project 5 - Exercise 2 - #2 - work in progress

Stefan513593 – Project 5 – Exercise 2 – #2 – work in progress

=> with a step separation approach similar to printing or photography.

Those two examples encouraged me to more into the single steps of my making a painting and – as already started in Project 2 of this part ‘Textured ground‘  – I will look at process in relationship of the process of deterioration as my subject matter.

 

My studies:

I am quite into a triptych approach – not sure where this comes from – but I feel that working on three panels the same time and in context would give possibly two dimensions of process: from panel to panel and from first to last step of one panel.

1) From Project 2 – Triptych ‘Builders faith‘ (each on polystyrene 50 x 50 cm)

 

Stefan513593 - Project 2 - assignment 5 - process#1-3

Stefan513593 – Project 2 – assignment 5 – process#1-3

 

and here the process steps of each individual panel:

Painting #1:

Stefan513593 - Project 2 - assignment 5 - process#1

Stefan513593 – Project 2 – assignment 5 – process#1

Painting #2:

Stefan513593 - Project 2 - assignment 5 - process#2

Stefan513593 – Project 2 – assignment 5 – process#2

Painting #3:

Stefan513593 - Project 2 - assignment 5 - process#3

Stefan513593 – Project 2 – assignment 5 – process#3

 

=> a truly process driven painting using builder materials, printed photograph and found objects from site (index). I let the painting evolve over time, adding objects where I sensed the need to add something. The surface texture guided my paint strokes. At the end with visual depth and space, haunting and intriguing. Rather abstract and using the flat surface to build upon layers. My response from step to step were informed by the underlying image.

 

2) Triptych ‘Nature’s forces‘ (each on canvas 60 x 30 cm)

A process driven triptych painting: with textured ground (cat litter and local newspaper as collage), with ink and acrylic paint. A kind of continuation with less found materials as Project 2 – Ex 1.

Stefan513593 - Project 2 - assignment 5 - process#4-6

Stefan513593 – Project 2 – assignment 5 – process#4-6

 

and here the process steps of each individual panel:

Painting #4:

Stefan513593 - Project 2 - assignment 5 - process#4

Stefan513593 – Project 2 – assignment 5 – process#4

Painting #5:

Stefan513593 - Project 2 - assignment 5 - process#5

Stefan513593 – Project 2 – assignment 5 – process#5

Painting #6:

Stefan513593 - Project 2 - assignment 5 - process#6

Stefan513593 – Project 2 – assignment 5 – process#6

 

=> A textured but only partly indexed, cat litter as local index as many people do have cats in our neighborhood. Triptych as process of deterioration. local newspaper as index for renovation, house selling and other classified announcements.  A more conscious evolvement of making. Perhaps at time being too self-conscious with the making and too much worried about the visual appearance and a possible meaning or narrative.  I felt that I have to stop further working on it and keep it a it is.

3) From monotype process ‘The haunting door‘ (A4):
I am adding here my series of monotype prints from my parallel exploration of monotype – click here – as I felt that it makes quite some sense to include it here as process as painting. A step by step approach with still having all steps available. What was or is a kind of disadvantage to my previous paintings (see above in ‘Introduction’)

Stefan513593 - Project 2 - assignment 5 - monotype experiments #6

Stefan513593 – Project 2 – assignment 5 – monotype experiments #6

=> The printing approach with limited palette (jut black and yellow) and a trace monotype of a photographed door of the building led towards a multilayers. The images have their own right of being and the series builds a narrative by themselves.

What I would have I loved to do but were not able to do was a real time documentation of the deterioration process. Somehow in the context of Cornelia Parker. I will keep this for my next level 2 courses. Main reasons were the rather limited time on site. Therefore my rationale for the above process painting studies were based on my imagination and interrogation with the material properties of the used paints and other materials.

Learnings:

  • I decided to explore my process approach on two triptych panels. Sensing a possible two dimensional ‘process visualization’ (from panel to panel and from first to last step on one panel) I could feel a certain tightness and consciousness in my approach, less loose and free. Perhaps I felt the time accelerated and not shown down. Something that I felt more in my previous approach in part 4. Something I need to get back.
  • Making consciously a process painting can turn into deprived images (see second sequence #4-#5). I felt it more successful when the underlying image by itself informs my making and not be too worried about appearance.
  • In do envision ‘Process as painting’ as a wider area still to be explored further. To keep this for later studies.

 

Leave a Reply

%d bloggers like this: