Getting ‘edgy’

Different Drums - work in progress

Different Drums – work in progress


With a week to go until the MA deadline I’m definitely getting edgy. The final two paintings for the show are shown above ‘in progress’. A scary moment! Is this really the end of the course? Relief and sadness combine together. But all this emotion is too premature. The paintings need to be prepared for exhibiting first. I’ve debated with myself long and hard whether or not to paint the edges of the paintings. I had intended to leave the marks of making on the sides. However, I couldn’t deny that they were a distraction. The work is not going to be framed and so I reluctantly started the process of painting the edges. I didn’t want white for the abstract paintings as this would detract from the colour of the images. Where I had graduated coloured grounds to work with, this means choosing whether to go with the lighter tone or the darker. I’ve always gone for the darker, to somehow ‘ground’ the piece against the wall. A bigger problem is to get the edges painted and dry in time to be able to pick the paintings up and move them around. I can only complete two large paintings at a time as I need to lay the paintings on their backs on tables to reach (and see!) the edges clearly. One slip of the brush and I could ruin a painting!
Watching paint dry!

Watching paint dry!


To go back a stage, to the paintings themselves – I have made a transition in my work, moving more fully into abstraction and, I realise, into something more performative. I had experimented with the idea of symmetry, which has come across so clearly to me from working in the newly refurbished CFT, where an asymmetrical Foyer has become symmetrical. Even the staircases are known as Stage Right and Stage Left. In this painting I added marks to the canvas on the basis of what I add to the right I will add to the left (I have since turned the painting through 90 degrees).:
Symmetry

Symmetry


It was a liberating experience. I didn’t want an exact mirror image so my repetitions were diagonally opposite and altered in colour or size etc to keep the painting interesting. I feel that it needs editing further – it is either too busy or not busy enough. What it has done for me is to introduce a new way of working and from this experiment, the content of my degree show has been made. I kept the same palette (magenta, cerulean and lemon) as I had been using for the earlier paintings from The Rehearsal. I now have two bodies of work, one, which I will exhibit at CFT, with direct and recognisable links to the production The Rehearsal and another, which represents development into the body of work for my degree show.