New Works: Portfolio - Painting (1)

New Works: Portfolio - Painting (1)

Introduction

Building on my research into artists such as Charles Sheeler and Graham Sutherland, my practical work has recently explored the concept of scale.

First, I considered the proposition that scale can affect the way we see a composition and can be manipulated within the picture plane to add power to a work.

I made a series of works exploiting the use of dynamic lines, angles, perspective and proportions, which I illustrate below.

Works

In the painting illustrated above, I explored dynamic angles and cropping as in the works of Charles Sheeler

 

I then went on to play with the concept of perspective, using the dominant hull of the boat and blue tarpaulin as a subject matter. (above)

 

My next piece of research involved introducing large-scale proportions in the foreground. I drew the concrete blocks with the idea that they should command the image. (above)

My final painting in this series involved a view of the lock gates. In this work I wanted to emphasise the power and purpose of the gates by cropping the foreground to direct the eye over the vast expanse of the estuary towards the water, which the gates hold back (see below).

 

Preparatory Work

I initially sketched out the drawing for each composition and painted in the tonal areas. I then used the under-drawing as a guide for the finished painting ( see examples below).

 

 

Conclusions and relevance to my practice

The academic research into the concept of scale showed that scaling up elements within an image adds power and dynamism to a work. This is true both for man-made and natural objects. The argument was supported by the paintings of artists such as Sheeler, de Chirico and Sutherland.

Space may be used to contextualise the subject and lead the eye across the canvas. Within the picture plane components may be manipulated, such as by distorting size or perspective. Cropping or dynamic lines and shapes can be incorporated and the composition enhanced.

Taking my practice forward, I will continue to use a limited palette. The merits include the mixing of my own colours which results consistency across a body of work and harmony within the individual image.

Similarly, the “unfinished look” adds creativity to my work and a distinctive approach.

I will continue to consolidate these elements across my practice whilst integrating what I have learned about scale.

I can incorporate elements involving dynamic angles and perspective, cropping, and proportion to add impact.