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With the BRotS #20 completed it was time to move on to canvas. You’ll know from my previous piece how I see the division between the research works on paper and what I regard as the more formal realisation on canvas – the mythmaking and then the ritual. https://t.co/kA123rxMG1
Apart from the colour variations I continually introduce in responding to the colour observed in the jetty, the paint textures have thickened, layers deepened, and the characteristics created by the tools I am using have changed https://t.co/kA123rxMG1
Apart from the colour variations I continually introduce in responding to the colour observed in the jetty, the paint textures have thickened, layers deepened, and the characteristics created by the tools I am using have changed. https://t.co/kA123rxMG1
Splash Point is an end stop to shingle drift across the Seaford bay the last iron clad concrete ‘groyne’ masquerading as a short jetty but in fact covering and protecting a sewer outfall installed in past times https://t.co/65LrL0DPXt and my inspiration
Who would have thought that making art at the bottom of the garden could lead to injury? https://t.co/kA123rxMG1
Scale is an important consideration in relation to the mark. I want to be able to put myself into the work and that means working with the whole body. As pieces get smaller so the ‘hinge’ around which the mark rotates changes. https://t.co/ndMdaFCYNg
My Verdun Triptych has now found a new home in a local public school, and there’s a story behind this dating back to the 1970’s. When I complete my degree course I was upset to be handed the application forms for a posts-graduate teaching course https://t.co/iWj0AwbznX
The latest in the series inspired by Seaford's jetty at Splash Point, one end of the seafront - read more at https://t.co/65LrL0DPXt