During this period my inquiry was around the concept of mark-making as a mode of expression, and the gestural nature and bodily scale of this mark-making process. In simple terms, this means that painting can simply be a process of making a range of different marks (sweeping lines, straight lines, poured lines, splatters and flicks) on canvas with paint. A totally intuitive approach to painting; no pre-planning or designing; just letting the painting evolve.
Working with 'mark-making' as my process drew me into an exploration of how lines can communicate, and what they express: the fragility and ephemerality of thin lines; the strength and solidity of thick lines; curved lines express fluid movement, whether it is calm or dynamic; lines that are horizontal or vertical appear stable; diagonal lines appear unbalanced, filled with restless energy, perhaps falling over?
When an interaction occurs between one or more lines, the individuality of each line is altered. An X formation of two diagonal lines is strongly tensioned and stable, and a diagonal at rest against any other line can appear to be bracing or holding it up.
It is this bracing and supporting action of lines that informed my inquiry and practice.
Working with 'mark-making' as my process drew me into an exploration of how lines can communicate, and what they express: the fragility and ephemerality of thin lines; the strength and solidity of thick lines; curved lines express fluid movement, whether it is calm or dynamic; lines that are horizontal or vertical appear stable; diagonal lines appear unbalanced, filled with restless energy, perhaps falling over?
When an interaction occurs between one or more lines, the individuality of each line is altered. An X formation of two diagonal lines is strongly tensioned and stable, and a diagonal at rest against any other line can appear to be bracing or holding it up.
It is this bracing and supporting action of lines that informed my inquiry and practice.
IMAGININGS - acrylic paint on linen, 650 x 1840 mm SOLD
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