At random points of this year I remember suddenly thinking about how I used to paint in first year, and I can't believe how different/how much I feel like I've grown in the way I paint this year. I'm definitely happy with the progress I made from first to second year. Though I have some doubts in, whether I should have tried more different processes (e.g. after the inductions, doing some screen printing work, or, trying more stop motion or, trying etching, or performance art... etc) and I really could have, and do feel like I missed some possible opportunities.
However, now that I'm thinking of what I did this year overall, I realise I did still push myself in small but significant ways. In the beginning, I wanted very much to try some more figurative depictions, to push my work to look like something recognizable, as to convey ideas clearer, and at this point I was painting from my childhood photos freehand. I also made the jump from more water-based materials like ink and watercolour, to water-soluble oil paint (because I was too scared to use real oil paints). The 'WHAT DOESN'T KILL YOU' painting was the only bigger piece in water-soluble oils because tom convinced me to switch to real oils as they are much richer, and they are. This painting was also the first time I tried the tracing method inspired by olive's painting process. Since I am living with her this year, I am always being inspired by her paintings and what she's doing, and I realised how nice it is to have friends to can inspire you in your practice as well. Anyway, from that point on I realise how, ironically, freeing, laying down a set outline is, since you can paint your strokes and colours however you want to represent those lines underneath. It is such a fun exploration, to leap into thicker paints. I used to always think I could only work with thin watery paints. Now I see the infinite possibilities in layering. After that, was my learning of how to use real oil paint in the 'OUTBREAK' painting, though the composition and colours became an apparent problem now that I am thinking much more about how my work is going to turn out, which I didn't think about as much in first year. I also started to collage images digitally for me to trace the arranged composition onto the panel.
The big breakthrough this year, I feel, was the boat painting 'DON'T WORRY, GOD EXISTS FOR YOU AND ME'. I have always been extremely inspired by film but this is the first time I painted from a film still, and am proud of the outcome. (I tried this in foundation year but it turned out horribly as I did it freehand and a very large scale, I might work different shapes over it when I'm ready) This was also my first larger painting that I'm working with oils and ink as a base. It was a wonderful realisation that I didn't need to give up my love for ink/water-based paints when using oils, as long as it is under it. I also discovered, even more so, how to go into abstract detail in what I see in the paint already within the strokes, which I used to do when I was doing all abstract forms, but now that it is mixed with some figures, it creates an interesting blurred line between the real and abstraction. This boat painting was the most recent period of time where I felt extremely inspired, when you are so pumped to get to the studio to just investigate and get to know it more. I hope that kind of energy can return soon too. I usually get this feeling regularly, but this recent lull really slowed down progress.
I began to assemble my collage for the cheeky cat painting as well as going with my wood block assemblage idea inspired by paul nash (whilst what seemed like a million other things, to generate an exciting idea to get over this lull, e.g video experimentations, morphing of photos) (also night circus + PPD placement/experiences) and then suddenly doing something entirely different, which is the portrait of my sister, but I will write about all of that in separate posts.
But yes, overall it was a very fulfilling year, with the PPD and the essay as well, and the tutors were all very helpful and kind, getting me through this second year.
However, now that I'm thinking of what I did this year overall, I realise I did still push myself in small but significant ways. In the beginning, I wanted very much to try some more figurative depictions, to push my work to look like something recognizable, as to convey ideas clearer, and at this point I was painting from my childhood photos freehand. I also made the jump from more water-based materials like ink and watercolour, to water-soluble oil paint (because I was too scared to use real oil paints). The 'WHAT DOESN'T KILL YOU' painting was the only bigger piece in water-soluble oils because tom convinced me to switch to real oils as they are much richer, and they are. This painting was also the first time I tried the tracing method inspired by olive's painting process. Since I am living with her this year, I am always being inspired by her paintings and what she's doing, and I realised how nice it is to have friends to can inspire you in your practice as well. Anyway, from that point on I realise how, ironically, freeing, laying down a set outline is, since you can paint your strokes and colours however you want to represent those lines underneath. It is such a fun exploration, to leap into thicker paints. I used to always think I could only work with thin watery paints. Now I see the infinite possibilities in layering. After that, was my learning of how to use real oil paint in the 'OUTBREAK' painting, though the composition and colours became an apparent problem now that I am thinking much more about how my work is going to turn out, which I didn't think about as much in first year. I also started to collage images digitally for me to trace the arranged composition onto the panel.
The big breakthrough this year, I feel, was the boat painting 'DON'T WORRY, GOD EXISTS FOR YOU AND ME'. I have always been extremely inspired by film but this is the first time I painted from a film still, and am proud of the outcome. (I tried this in foundation year but it turned out horribly as I did it freehand and a very large scale, I might work different shapes over it when I'm ready) This was also my first larger painting that I'm working with oils and ink as a base. It was a wonderful realisation that I didn't need to give up my love for ink/water-based paints when using oils, as long as it is under it. I also discovered, even more so, how to go into abstract detail in what I see in the paint already within the strokes, which I used to do when I was doing all abstract forms, but now that it is mixed with some figures, it creates an interesting blurred line between the real and abstraction. This boat painting was the most recent period of time where I felt extremely inspired, when you are so pumped to get to the studio to just investigate and get to know it more. I hope that kind of energy can return soon too. I usually get this feeling regularly, but this recent lull really slowed down progress.
I began to assemble my collage for the cheeky cat painting as well as going with my wood block assemblage idea inspired by paul nash (whilst what seemed like a million other things, to generate an exciting idea to get over this lull, e.g video experimentations, morphing of photos) (also night circus + PPD placement/experiences) and then suddenly doing something entirely different, which is the portrait of my sister, but I will write about all of that in separate posts.
But yes, overall it was a very fulfilling year, with the PPD and the essay as well, and the tutors were all very helpful and kind, getting me through this second year.
photos from first year:
