where exactly are you standing to be seeing this..?

Google Image Result for http://www.nga.gov/press/2004/releases/fall/assets/acqui/whitere
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Rachel Whiteread

Born in 1963, Whiteread began working in London during the mid-1980s when she was a student at the Slade School. From the beginning her work was closely engaged with the legacy of minimal and post-minimal art, including such figures as Carl Andre, Donald Judd, Bruce Nauman, Gordon Matta-Clark, and Eva Hesse. Eventually she turned to the casting process--initially in wax and plaster, later in resin--that allowed her to create quasi-abstract replicas of ordinary objects, parts of the body, and eventually empty space. In 1988 she made several works by taking plaster casts of domestic features which, as she put it, carry "the residue of years and years of use."

painting begun

inchoate (1)
1000 x 1000mm acrylic, talcum, india ink, bank card of stretched canvas.
This might become underpainting nevertheless I am happy to see that in the recent past months I have worked towards a deepening understanding of the Pierre Soulages work.

Stretchers for Morag Hamilton's photography exhibition in Westport. November 2006

N.Paradoxa : Issue 7

the Chora and Julie Kristeva

snapse#1

'snapse'

1000mm x 1000mm, graphite, gesso, housepaint on stretched canvas.
Well Sophie,
a few things going on here which are all extensions of the past six months and my desire to do it differently. This last wish is proving to be not without it's suprises. I am feeling less manic and intense about the daily schedule but in it's place is what feels like a lethergy.
I am resolved to do all my major pieces in this format and on this support ( canvas). So lots of nice exploration of the 'surface' and further back from there even (making the stretchers, ripping them from recycled rimu)
We have started using talcum and acrylic matt with lots of sanding back in between coats.
This piece is drawing with 'no figure and ground considerations' and the end result is intrigung. Negative spaces appear despite all my efforts.
This morning while walking with A on the beach I confessed being conflicted about this piece, unsettled and unsure. I then talked myself into declaring that (this) piece has taken me into an active restlessness with the formless and with process. I wanted to resolve the work
( somehow, what does this mean?, make it nice?.....) and A suggested that I continue with the operation of painting 'background' over the top, which I did and consider that a balance is achieved.
I am tempted to repeat the operations/exercise fom start to finish but then......there is some painting to do.
This will affect my choices of majors and minors I suspect.
Do you know that you can click on these images and they will expand?
And finally here's the link to the white room
and my critique of the Tesselation Series.

detail

detail

float mounting the wallpaper series

Ever since I began with the wallpaper series I avoided the issue of how to mount them for 'ready to hang'. I made a metre square box and lovingly layed them in it, adding the new arrivals until the box was full ( almost) and there they lay. As part of "Presenting your Art and Yourself" I resolved to takle the problem and 'float ' mounted each painting on it's own rimu frame. I glued each painting along the top/leading edge and left the other three sides to float and find their natural fall. I like the breezy open quality it brings to the pieces, movement.
A happy bi product.
I then made a storage shelf to put them away out of the comings and going, accessable and secure. Now there are 17 metre square paintings, ready to go & waiting for developments.
This is the final play in a preparation that included the 'viewing' wall ( posted below).
Already used it a couple of times to show the work.
When our patron and benefactor comes to visit, we will be ready.

drawing

detail of drawing 1000x1000mm
graphite on gesso and canvas

light to dark to light

liz robinson, themes and working from light to dark and dark to light
no figure
this worked out as a suprise. i made some paper cuts of white paper/grey blue and black background...........then same cuts with white background etc
well that worked and i photographed the results
finally i superimposed the pair onto each other. ( and did mutiple examples)

week one begins with a new viewing wall

the inside studio has no real designated clear space for looking at the finished pieces so I made a 'gallery' wall in the workshop/studio. Here we see Audrey's piece ( one of the tessalation series) and one of my wallpaper series. Nice.