Journal

Observations, questions and actions from the week in the studio

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Painting back the studio wall


  • It takes a couple of days to install the wall work.

  • Find the price of getting vinyl cut.

  • Explore alternative methods to vinyl – can I pre-cut in tape the shapes I need?

  • A two colour wall work is an option but will increase install time by a day. This will also increase cost. Use projector to only paint the “white areas”.

  • Be confident in how much / how little I install in the space.

  • A single small work can hold a wall.

  • Think about the dialogue between the works in the show. Positioning affects the conversation.

  • Confidence, confidence, confidence.

  • What if I only presented two works – one wall work and one small painting?

  • Scale of mark in relation to the object.

  • Scale of one work in relation to another.

  • A magazine page pinned to a wall could be more than enough.

  • The magazine blackout forms are anchored, the ones on blank paper are not.

  • Take the blackout forms from the magazines and reproduce them in other mediums with / without a background.

  • The significance of the magazines (or not).

  • The importance of the act of erasure (or not).

  • Concentrated works.

  • Pieces working from a distance and up close.

  • Same song, different parts / harmonies.

  • Gesture / mark making as the common denominator.

  • The practicalities and restrictions of the install time.

Progress

Wall work progress.

Wall work progress.

Wall work progress.

Wall work progress.

Wall drawing progress in studio 30 at Toi Pōneke
July 2019

Observations so far:

  • One litre of paint isn’t very much, but will have to be just enough for testing.
  • Pre-cut vinyl may be a way to speed up the install process. It will also improve the accuracy of translating the original drawing from digital to analogue.
  • Time spent painting is fraction of the install time, though drying and curing times extend this.
  • While the blue (named Elvis) feels right for this test piece, it could be too heavy over several walls, moving from joyous to oppressive.
  • It’s great having a studio space again, to have somewhere to go to make work.
  • I really want to take the tape off.

Testing, testing

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Studio 30, 8 July 2019


Needing a wall to test some ideas on I’m fortunate enough to be back in my old studio space for a couple of weeks.

During this time I’ll trial ways of executing a new wall work, explore combinations of work and if possible, find out how far I can push what I can do on the wall before the work fails.

After the first day, I’m pleased the work is beginning to look and feel coherent. Progress has been slower than I’d like but such discoveries are the reason for testing.

Anything goes

Blackout drawing - black acrylic on plain white paper.

Blackout drawing - black acrylic on plain white paper.

Blackout drawing - black acrylic on plain white paper.

Blackout studies
acrylic on paper
2019

Working on blank paper I initially miss the given structure of the printed page. The placement of text and image, often on an underlying grid, gave me something to black out, to work with and against. A blank page offers no such structure. There’s nothing to work against, save for the edge. Anything goes.