Practical research . Figurative paintings of Veiled Venus

 

   

 First painting -using green background to denote female connection to nature.

Inititially struggled to transfer bronze into flesh and started with dark colours that i subconsciously connected to the bronze.

Rubbed this away and Female is nature used sand paper to rub away parts of the flesh and to reveal green at the core.

At this stage - i've successfully split my oil paints into transparent and opaque colours - so i moved away from opaque oils and focused on the transparent.

I'm enjoying the puzzle of changing bronze to flesh but have run away from my original intention of using sandpaper to keep the liminality with the background. I can't use sandpaper now because I'm no longer able to re gesso over the work to go over it a second time, without compromising the oil paint.

-------------------------------------------------------------------------------------------------------------------------------

Notes from conversation with IB:

Taking a sculpture which has a particular dimension of engagement – it is a contextualised object in a physical space – we can walk around it. An act of transcription, translation. Process of making a painting of an object which is another artwork.

 

Sherry Levine –

Appropriation as a strategy

-              Photograph of a photograph

-              Photograph of a painting

-              Painting of a painting

-              Remake of a sculpture in a different material.

-              https://www.xavierhufkens.com/artists/sherrie-levine

 

Glenn Brown

-              https://glenn-brown.co.uk/publications/38/

-              Colour shift – often lurid or synthetic

-              Change of process – flat when original is thick

 

Tradition of making drawings of sculptures as a learning exercise.

David Shrigley

https://www.ngv.vic.gov.au/exhibition/david-shrigley/