Creating in Spain
In this blog post I want to give you a closer look at my practice. How I collect resources, explore and consider before I start to create outcomes. Whilst my outcomes have changed over the years my approach of starting with an intention has always been an important part of my practice. I have explored working without intention or a theme, but found the work lacking in meaning. For some artists the process is the theme, or the exploration of a particular colour or shape and that is fine as it still enables a focus.
Many artists feel a theme or intention will trap them, and there’s certainly a large number of artists I know who admit to feeling tied to a genre they have chosen but which no longer serves them. But it’s not the subject that is tying them it is their approach to it. What they are invariably tied to is the cultural expectations associated with subjects: a landscape has to have an horizon line, blue sky and some green, still life has three dimensional form, architecture is mathematically correct. Once you realise the rules can be broken and that your theme becomes your guide, a starting point, a focus that sits on your shoulder. From that point on your work becomes about your subject, rather than a pictorial representation of it… let freedom reign!
I start my collecting with a daily focus on my walks. It may be seeking out lines, or the shapes of shadows, the spaces between buildings or the texture of an old wall. By just seeking out one element* I am able to focus and not get distracted. This builds into a collection of photographs, drawings, and rubbings that I can explore back in my apartment with a range of media and printmaking using collagraphy and monotype.
Inspired by my collecting I created a huge amount of monotype prints exploring the colours, lines and textures. Whilst creating collage papers I explored compositional ideas in my sketchbook. The long format is not an easy one but a challenge is always a good thing. I use three pens of varying values and the white of the paper. The intention is not to choose one to enlarge, but rather to explore compositional possibilities. Again, creative freedom is paramount.
Creating collage papers is exciting, and addictive! I had intended on this visit to just make papers to take back to my studio in Norwich but as I had some canvas here I decided to work on four pieces. The only criteria was that they needed to fit in my hand luggage as I travel light! I stapled four 40 x 90cm pieces to wood planks so that I could move them around and have a solid surface to work on. The long format meant I have a larger working area than I would if working square, and they roll up and fit in my bag.
I started the pieces by brushing on shapes in greys and whites, informed by my thumbnail sketches. Once dry I use these to guide the layout of the first layer of collage paper. I had grouped the papers into ‘families’, pieces that related well, or provide contrast.
Whilst I am creating collage papers I use a range of colours, but at the collage stage the paints go to one side. Again this is a way to keep me focused, a parameter that allows for a deep flow state without the distraction of yet more tubes of paint. At times when building the collages I need a particular type of paper, a certain colour, or texture so stop to create more, but on the whole it’s just paper and gloss medium.
Having got this first layer down I have something to respond to, and the conversations and relationships begin to flow. More papers are added, taken away or cut into. Each piece I add changes the whole, the dynamics shift. Each piece poses another question “What if…?” or “Is it too…?”. It is this questioning that drives the work forwards.
This to and fro continues, time stands still. I look at my Fitbit and see I have taken 1500 steps in this small room! At stages I step back and reflect on what is working and what isn’t but the best way is to take a photo and retreat to the kitchen for sustenance. To go for a walk to clear my head.
With a painting I may have up to 15 layers, but with collage half the work has been done with making papers before I start building. As with painting gorgeous layers get lost, become part of the history of the piece. But I’m okay with that, being precious about a layer, an area or a paper is limiting as it prevents essential risk taking.
At times I find myself cutting small shapes and getting fiddly. At that point I know I have to step back and remove anything superfluous before it dries. Adding any more would be over complicating and lead to another cycle of adding and subtracting. Time for a final photo, just to sit quietly and check there’s nothing shouting at me. These photos are so useful. Using my phone or iPad I put them in grey scale or Notan (black/white) Tools to help me see them with fresh eyes.
There comes a point where the piece stops asking me questions, where the pace slows and a quietness falls like a soft cloud, at this point I stop. I may find I need to adjust the composition when I look at them back in my studio next week, but for now they just need to dry.
I’m aware I have condensed many hours of work into a relatively short blog post. I am often asked how long it takes to create a piece and give the classic answer of a few hours plus the forty years of experience! If it helps, from the first layer of greys on the canvas to walking away was two weeks. Some of the pieces took longer than others to reach a conclusion and there is as much time spent reflecting as there is applying papers. How do I get there? That’s another huge question. I pull on my memory for shapes and angles, draw on my thoughts about concealing and revealing. I use my experience of transparency or opacity, and explore my knowledge of compositional solutions to the endless problems that comes from creating. Whilst this is now intuitive, it’s not a gift or talent. Instinct is innate: what we like, what we don’t our personal preferences, the subjects we lean towards. Intuition is learned knowledge that is built over many decades of looking, absorbing, and working eventually it becomes hard wired. The plus side of that means artists are not special people with innate talents, anyone can learn.
I’m off to make lunch for some friends and to finish packing, thanks for reading… and hasta luego!
*compositional elements = line, shape, colour, texture, pattern, value, space, volume. CONFIDENT COMPOSITION is my 6 week course that covers all the aspects of the subject.