I'm enjoying taking my time with this series of works but there are feelings of such frustration when it can take three hours measuring and gridding up a large photograph! A process which then needs repeating onto the canvas.
Delving deeper into my painting practice and exploring the techniques of the Masters from the C14th and C15th is the main reason for change in pace though. I am learning to embrace a slower, more guided step by step approach which is in huge contrast to my Spontaeous Expression work from a few years back. I was recommended an excellent book by an ex painting colleague at Second Floor Studios, Ray Richardson, who suggested that I took it with me to Spain as a painting bible no less. Its been thoroughly read through in parts, especially the chapters on grounding and glazing.
The most interesting thing about the ground, using raw umber is the effects you can give space too as the painting moves on in stages. One of my mantras at the moment is to 'Give it space and Let it breath'. A painting needs this otherwise things get overworked and too tight. Its a challenge to allow the working of a painting to show through but more now I am embracing an unfinished style, at least in parts of the composition. There is something beautiful about seeing the ghostly pencil lines of some previously sketched trees and allowing them to be traced through the paint. More and more I hope to complete these paintings by seemingly doing less. Holding a wish to create images with a gentle indication of something that is left out, or yet to be seen. Like a memory or waking dream where the recall is hazy and unfinished.
Every day I aim to take in something of my surroundings, for inspiration and relaxation. I've got in my minds eye a view of a corn field for one of the paintings in this body of work. Walking through the fields and seeing the horizon not only allows my eyes to readjust after concentrating all day, but muscles need to let go of tension they hold in the simple act of painting. Its not always so simple, depending on how many brushes you end up holding in your hand at any one time!
So Im finding that the secret is in giving the work space to breath. And not being afraid to let it go for a few days without losing the creative tension. Trusting that I will keep hold of the thread and not let go of that quiet whispering inspiration and flow.
Thank you
x Charlotte
If you like raw painting and quality, check out Ray's site.