Paintings from The Rehearsal

The Rehearsal Paintings

The Rehearsal Paintings


This was my blank canvas (although I had painted in a background) for my second painting, started on the Masterclass workshop with John Skinner.
The first painting had a very heavy feel to it with a really dark background, so I wanted this one to be lighter in feel and more delicate in its marks. I was not happy with the composition of the first painting, as the image exists right on the surface of the picture plane, which is not a way that I usually work.
Rehearsal 2

Rehearsal 2


Some of the tones in the painting were too dark in this early stage and so they have been adjusted to create a better depth of field in the painting.
Rehearsal 2

Rehearsal 2


There is much that I like about this painting – it does have some delicacy, but it felt too static to me, so I painted the ‘background’ over with yellow. I gently ‘polished’ back the yellow over much of the background but left the top right with some active marks. This started to create the drama that I am looking for. I shall leave this painting for a while now – it could be complete. I’ll decide that later.

The first Rehearsal painting described in my earlier blog has been bugging me and I found the large green area too dominating so I painted it out loosely with a dark blue.
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It is still not right and it is a great distraction to me so I have turned it to the wall for the time being and I shall start some new paintings this week.
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I am also preparing to be filmed next week whilst starting a new painting based on the Foyer at the theatre. I shall be re-visiting some of my earlier drawings and making some small studies on paper this week.

Lectures continue too and we shall be having a talk from Sam Lock, a Brighton based painter, this week. He will also be giving tutorials to MA students. Last week Matthew Burrows visited us and gave a very enlightening talk about how he sustains working as an artist. It is quite a lonely occupation. I found his tutorial very instructive, advising that I spend regular time mark-making and drawing, as a ‘limbering up’ for a painting session. I already do this to some extent but Matthew pointed out that my study times could be more focused on one or other aspect of my work and this could maintain a freshness in the marks and so transfer better to my paintings.

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