As in the last exercise I decided to look at specific images from my series of photographs taken on site.
Painting #1: Enamel and acrylic on canvas board (50 x 40 cm)
Painting #2: Oil and acrylic on canvas board (50 x 40 cm)
(remark: the photograph doesn’t show the complex luminosity of the painted surface completely)
I felt intrigued by some color and texture patterns of objects that reminds me of human presence: door, satellite dish, windows. I cropped the images and looked at them separately before deciding which views I will work on for my paintings.
- Glass parts of door – very colorful
- Satellite dish – aging and undergoing nature’s forces:
- Window curtain – broken – “Is someone at home?”
- Letter box with unique colors
- Door glass – unique patterns – very scientific
Many of those patterns are intriguing and in order to keep focused I decided for two paintings:
- Zoom in on satellite dish. Reminding me some of my experimental painting approaches I did in previous project with enamel paint (https://ocapainting1.stefanschaffeld.com/?p=3420)
- Letter box with rather minimalistic regular shapes and color field paintings of the small glass window. Reminding me of some of my experimental painting approaches in Part 1 in context of Mark Rothko (https://ocapainting1.stefanschaffeld.com/?p=299
I worked with an underlying middle grey acrylic ground and applied white enamel on top, letting it run down, scratching in it and appying some green pigment and earth for special markings. The painting process reminded me of the time lapse deterioration of the satellite dish exposed to the natural forces.
Here the sequence of painting process for painting #1:
A glossy acrylic ground with a window unpainted. After drying I taped off the painted ground and work with several transparent layers in oil to obtain a deep colourful area. I was careful to use only transparent paints (phalo blue, prussiam blue, madder lake) and a lot of turp. to work very fluently on the surface over several days. I used a semi-transparent yellow paint to add a different hue as well as to add more body and opaqueness to the space. Overall I was not so much concerned in achieving a likeliness with the cropped zoomed in photo. I found it eventually fascinating how the oil paint creeped under the tape and left its traces at the edge. I really got to love those incidents.
- Looking closely at a few objects can expose me to incredible beauty e.g. letter box
- I found man-made forms in contact with nature as very rich in depth and different ways of articulation. E.g. the satellite dish with the ageing and deteriorating surface can – at large scale – convey a sense of sublime. This for me an excellent process approach reflecting nature’s process and painting process.
- Trying to understand materiality of different paints and approaches helps in creating images that are quite close to perceived forms.
- Close up views contribute to not-recognition. The viewer can not relate to the complete form. Only part of it and by that the response would be different. For me a different approach compared to my using of mylar sheet to disguise an underlying painting (Part 4 – Project 1).
- I do more and more embrace and love those incidentally marks and traces left by paint as the edges of the blue square.
- Consider how close up views can support my project. Can a close up view convey an uncanny sensation or alienation? Through rather abstract presentations based on material characteristics of paint.
- Consider process painting as process of deterioration as an analogue.
- Schaffeld, S (weblog post, 28 Feb 2016) ‘Contextual painting: Rothko and stained glass‘ [Online] Available from: https://ocapainting1.stefanschaffeld.com/?p=299
- Schaffeld, S (weblog post, 26 Jan 2017) ‘Project 1 – Exercise 2: Dripping, dribbling and spattering‘ [Online] Available from: https://ocapainting1.stefanschaffeld.com/?p=3420