Upcoming exhibitions and work in progress

There's a lot going on at the moment, I haven't had time to update this blog for a while. I finally have a couple of days to focus on actually producing new work, which I'm quite excited about.

A couple of exciting exhibitions are coming up for me. I'll be showing at Parallax Art Fair in London from 20th - 22nd February, and I'm looking forward to the exposure that this will give my work. Tickets can be purchased at http://parallaxfeb2014-eorg.eventbrite.co.uk/. This will be the last occasion for now I'll be exhibiting the work I made in Iceland, as I've shown this extensively since I got back to London. I'll also be showing a couple of older pieces that complement this work, it'll be nice to see recent work shown alongside some pieces that were made a few years ago.

I'm also currently curating a show for Camden Image Gallery, to take place between 15th February and 1st March. It's a lot of work but I'm enjoying the process, and have been sent a lot of really great work. I'm really happy with the line-up of artists I have so far, I feel that the works are going to be very cohesive together, whilst also showing each artist's individuality very clearly. There are still some spaces available at an affordable rate, if interested please email me at tamsin@camden-image-gallery.co.uk. Any style/media is considered.

I also have some work in progress at the moment that I'm getting very excited about. A couple of weeks ago I started a piece on a slightly larger scale than usual, with 10 layers of painting, drawing, and weathering, using a combination of natural and deliberate weathering. After painting the background colour blocks I immediately started intentionally weathering the canvas, and was really impressed by the effect this had on the surface. 

Whilst the piece was naturally weathering outside the frame was damaged quite significantly, and now the canvas is kind of twisted and asymmetrical, which brings a brand new effect into the work. I'm not sure how the work will look when hung, as the canvas isn't straight, but I think this will really emphasise the weathering aspect of the work. I'm ready to start painting the actual portrait now, and I'm really looking forward to seeing this piece completed. 

The effect of weathering the surface before the paint dried has really inspired me, so I'm going to work on some abstract pieces made in the same manner over the next couple of days. I loved the background just as it is, so I think these pieces will turn out well, and will also really emphasise the use of weathering in the work. These pieces, along with the portrait piece, may be exhibited at the upcoming exhibition in Camden.

The final exciting thing at the moment is that my work was featured on the Artpromotivate website earlier this week, which has surely exposed my work to a much wider audience. I'm really pleased about this, and the artist spotlight can be viewed here.

First finished piece!

 I'm so happy to say that I've now finished one canvas, and I am so pleased with how it has turned out. It has been titled "Mud", for obvious reasons!
Embroidering the canvas last night was a messy job, due to the amount of dirt of the surface, but it was absolutely worthwhile. The weathering is so clear here, and I'm still amazed by how quickly it happened. This is exactly the kind of result I wanted all along, so I'm very satisfied with this piece. In Iceland I've been working on a smaller scale than usual, due to time constraints, and I think this has also helped to speed up the process.
I love that there is balance between areas that are built up and intense, and areas such as the forehead that are less blemished, I think that really works in this piece. I also love that the dampness of the environment has caused to chalk to spread and drip in some places, that wasn't a result I was expecting but I think it works in contrast with the bolder aspects of the work.

 This piece has really confirmed for me that bringing my practice out here for a time was the best decision, I've accomplished what was not possible in London. When I originally conceived this idea, about a year ago, this was the kind of effect I was imagining and hoping for. I had to go a lot further than I expected to manage this, but I'm really satisfied now.
However, unfortunately yesterday I found that the piece in the rockpool has been washed away. This really doesn't surprise me, as in the past few days the sea has been very choppy, the waves have been even more violent than they were last week. with the waves being so big I would probably have drowned if I'd gone down to check the painting over the weekend.
It's a shame, but an occupational hazard if I choose to work in this way. I'm glad that I was at least able to document the weathering process with images and film, even though there is no work at the end of it. It has highlighted that I perhaps need to be even more

careful when it comes to securing the works, so  I'm keeping a very close eye on the piece that is still outside.
I am considering bringing it inside today, as it is already scratched, and this morning I had to climb along the rocks to retrieve it, as the winds last night had blown it further down the cliffs, along with the rock it is tied to. I obviously knew that the weather conditions would be more dramatic here, but I didn't understand just how extreme it could be. It's completely unpredictable, and whilst that it great for the weathering process I'm having to work a lot harder just to make sure that I do actually have some pieces left!
Even if the remaining works don't go to plan I'm so happy with this painting, and will be exhibiting it in London next month for sure. Yesterday I also placed a couple more paper experiments outside, and I'm also planning to try out a piece on wood, to see if and how this differs from weathering canvas. I'm so excited about the possibilities here!

New work

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I've just finished a new piece this evening, I've changed things up a bit, and really like the end result. This is the first piece, apart from some preliminary work, where I've intentionally damaged my canvas, not allowed it to happen naturally. I'm really pleased with the results of this, as they're much more violent and visible than the natural results. I enjoyed using natural weathering, and I'm certainly not ruling it out as something to use in the future, but for now I think that this method is more suitable for my aims. Added to that, throwing, kicking, and scraping a canvas along the ground is a good stress reliever!

With this piece I've also brought in drips of ink, which started as just a new way of adding layering, but I feel it's also reflective of the hanging threads I always incorporate, so I think it really works with the piece as a whole. the piece has ended up being quite dark due to the use of black ink and grey paint, but I think this won't always be the case when other colours are used. I'd definitely like to continue using ink drips in future work.

Using embroidery as a means of repair, as well as for decorative purposes was also successful. As the idea behind damaging the canvas was as an analogy for being damaged and affected by life experience, I feel that the repair stitching almost acts as a symbol for hope - if things are damaged there are still ways to fix them. As there's more going on in this piece in terms of the physical effect on the canvas, and the use of ink, I decided to keep the embroidery much more simple and low-key than it has been previously. I think using the intricate style I've used previously may overload the canvas.

I'm really excited about this piece, and feel a new wave of motivation. I'm really keen to experiment more with these new ideas, and build up my body of work on this theme. I'd also like to go back to painting portraits of others, as I'm a bit bored of using images of myself now. Really looking forward to choosing some new subjects and getting on with some more work!

Finished weathered work

 

The weathered piece is finally finished!
It's been a frustrating process at times, but I'm happy to have finally finished it, and I'm happy with the results. I'm planning a similar piece, and I think it's likely to get done more quickly seeing as it's now autumn and the weather should be more tempestuous than it was in early September when I started this.
In this piece I've also used embroidery to pick out some of the background colour blocks, as I like some of the strong shapes there. I'm also really happy with the intensity coming from the hanging threads being concentrated in a particular area.
This concept is definitely something I want to push further and experiment more with. I'm hoping to exhibit this, and others works made in this way, early next year.

Today I'm planning to get started on a second piece in this style. However, there will be a couple of differences. To push the idea of being weathered and damaged by life experiences a bit further, the next piece will be a portrait of myself as a child. My mother has kindly sent me some photos to work with.
Additionally I'm going to move away from using continuous line drawings. Instead I'm planning to use drawings inspired by Frank Auerbach. I saw his show at Marlborough on Friday, and found it really inspirational. Since then I've been experimenting with some sketches in his style. I'm planning to build layering up in the work with sketches in charcoal and chalk, and I'm interested to see how this will be affected by natural weathering, even after being fixed.

Pushing it

I realise that my work could be considered to be formulaic, as I have quite a systematical approach to the work I'm currently doing. I don't want things to get boring, or have all the pieces looking too similar, so I'm trying to push one element each time I work, meaning that each painting has more individuality.
In the piece I was working on last week, I used more embroidery than I have in others. In my next piece I'm thinking of adding a continuous line drawing made with wool, as an extra layer between the background and the painted face. Today I was painting a new work, and rather than layering one drawing and one block of text over the painted motif, I repeated each layer twice. Below is a photo of the piece so far. I still need to embroider the canvas to bring the face back through, as the marker pen layers dominate it.


That being said, I'm happy with this so far. I'm actually quite impressed with what I accomplished today. I really wasn't feeling in the mood, but one of my friends suggested that I just get started and see how it goes. I ended up finishing the bulk of the painting. The background was the only part I'd already done, and all that's left now is the embroidery layer.

Two finished portraits!

Both acrylic, marker pen, and embroidery

Today I finished the second portrait, and I'm very happy with these two. Initially I was concerned about using yellow and orange over grey tones, but I really like the the texture coming from the grey. This also serves to emphasise the concept of layering in the work.
Looking at these portraits, I'm struck by the richness of them, coming from the multiple layers and different elements. I think the continuous line drawings on each canvas really contribute to the intensity to the work. I also notice how more experimental colours really affect the mood and style.
I'm really happy, have already painted the background for the next canvas, and I'm ready to get back on it tomorrow!

Changes

I still have no internet! That'll change next week, and hopefully after that I can write more often. This week I've continued on the painting of Emmi, but the general direction has also undergone some changes. The poetry will now be written over the painting, rather than on a separate board, and embroidery will then be on top of that. As layering seemed to become more and more important in the work, this seemed like a logical progression. In the past I've been nervous of doing too much and overloading a piece, but now I want to push it. I have a bit more embroidery to do today, and then I'm done with this one. I'm thinking about tying additional hanging strings to the embroidery, just to add to the intensity.
Then I'll be moving on to a new portrait, this time of my boyfriend. This time I've decided to be more experimental with colour, and work with grey, yellow, and orange. The idea is to create something which may confuse the viewer, or create an unusual effect with the colour combinations. I like the idea of a dull grey background combined with the shock of the bright tones.
Below is an image of this portrait, prior to the addition of the line drawing, text, and embroidery. As I added more the face took on a tribal, mask-like appearance, which I find very interesting. This wasn't a conscious choice - just a natural formation. I'm really pleased so far. When everything is finished I'll post a picture.