In my last blog post I wrote about my recent work and how it has developed over the years to a practice that encompasses the range of media I use. 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.
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 ok 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 greyscale 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.
It’s great to get another blog article from you. Before I read them, as with this one today, I have to make mind-space and a cuppa so that I can have a relaxed sit down and really think about and around what you’re saying. Thank you for sharing your work process and all the reflection on your practice. I’m at a basic level, getting so much learning and enjoyment from your courses and your blog posts are a lovely bonus. Thanks again.
Thank you so much Tanya! Writing them helps me reflect on my journey too ☺️
Always interesting to read about your process- thank you.
Thank you for reading ☺️☺️
Lovely to read that the old creative juices are flowing Sally!
Your post reminded me to go back and re-visit the composition course I took with you earlier this year. Have a great Christmas.
Thanks! Have a jolly one yourself ☺️
What a wonderful newsletter Sally, I love reading what you have to say and I always learn something even from a blog or newsletter. Continue to care for yourself when you return home your heath can’t be taken for granted. The art you created while in Spain is incredible and you are definitely an inspiration to me.
Have a happy day
Glenda Curdy
Thank you Glenda. I’m easing myself back in gently 👌
Thanks for your personal story in the newsletter, Sorry to read about your insomnia and health issues, you alwaus seem so vibrant and energetic. I also have a sleeping problem, which is much less, since i take extra supplements of magnesium and Zinc.
I follow you on Insta and FB and would love to do the CONFIDENT COMPOSITION course, but I also want to do the Claire Benn course via FATT, which starts around the same time. Anyway, my problem. I love your work…
Hi, and thank you! I thought it was about time to take action before anything more serious cropped up! Yes, I’m bombarding my body with a mountain of supplements, no caffeine etc.. its working!
The course will run again in ’24, I usually run it twice a year.
Regards S 🙂
I love to live vicariously through the art travels and experiences of others. This one was a joy and I could feel Spain in your paintings! Thank you. I am so impressed that you can take you kit and be away for weeks with just travel on case… I didn’t get the genes for that sadly!
Hi, Thanks!
Thankyou for your inspiration.
Thanks for reading Diana 🙂
Oh my goodness, what a wonderful blog Sally. It makes such sense to me and resonates with all that I lean towards. You are such an inspiration. Thank you !
Thank you so much! ☺
You are a constant source of inspiration and always fill me with ideas and possibilities. Thankyou for all your generosity and stay safe and healthy!
Thans Debbie! ☺️
Sally, I’m so pleased to see these lovely pictures of your Salobreña work. I am thrilled to say I recognise the Boveda and that spiderweb drain! I’m in Salobreña too, a couple of times a year, and was there whilst doing the Gel Summit, having signed up with the intention of letting the white and cubic town and the hills inspire me for the course… but it was too sunny and warm to do much else than stroll round the casco antigo, sit in chiringuitos, and sketch, though I did try an image transfer of the Fabregas starry drain. I’m now signed up to your newsletter I hope, and look forward to seeing more of your images. x
Hi Jan, Great to hear from you! We arrived back in cold wet, grey UK at the weekend…..missing Spain!!☺️
Thank you so much for sharing this Sally. I’ve been struggling to start again after a break. This post has the juices flowing again.
Thanks Sally 😊😊