After playing with room dividers I wanted to paint on to curved surfaces (concave & convex).  I feel this shape reflects our consumer culture through advertisement billboards; for example, the looming curved screens in Piccadilly Circus. HQ TV/cinema screens have been made to curve around for full maximum viewing experience. –> Pushes on from double sided idea.

I’m working on curved pieces of aluminium & steel. Leads on from my research last term into the Industrial Rev and industrial materials (the metal stand I used as a support for a freestanding painting), but now in a literal sense, I am painting on to a metal substrate. Most predominantly, I want to make a design object through painting. Where does this curved, painted object belong? Gallery, office, home, hotel lobby or waiting room? –> Environmental aspect to consider. Architectural elements and neo-liberal space creep in to the work, how do I create a dialogue with a series of freestanding curves?

Obviously, using this steel shape could be perceived as too close to Richard Serra’s curves. I’m using the steel shape in a different way, mainly through the application of paint on the surface, and through presenting them as decorative objects.

I hope to create a narrative across a range of objects/shapes as the year goes on. Been thinking of taking a sweeping gesture/a mark I’ve made from one of my past paintings and make a sculpture from this out of resin/jesmonite.

For the steel curves I am reducing my expressive style, by purely applying masking-taped painted slashes, dictated by the shape of the curve. Through these gestures there’s an aspect of performing painting –> hanging on to an expressive element??

Artist: Jennie Jieun Lee –> makes abstract based painting, sculpture and installations; her work feels like it has some form of focus to it, either a specific object or a painting that represents something physical. The objects she makes reflect a certain type of painterly emotion. Very expressive, something I’m drifting away from but I like her presentation method; when installed and put on a plinth they create a centre focus piece with the decorative, expressive wall piece reflecting this emotional wrap, surrounding and submersing the viewer. How to hold a viewer through a decorative situation, something I’m playing with.

I have a desire to make my work more engaging & powerful. The photographs of the piece (below) work well, the shadows, etc. Do I present a digital image with the object? Showing a combination of digital / industrial material / painting / sculpture. There’s potential for installation within this.

ALSO a large point of interest as a fine artist would be to collaborate with a designer / carpenter to create a piece. How craft and design intertwine. There’s a hierarchy of these roles within society & I’m interested in exploring this. How to then make authorship evident in the work. Do I allow my work to be completely directed by another type of creative? Very contrasting to my free, spontaneous, meditative paintings that I’m used too, but relates to a couple of public commissions I’ve completed.

Research points–> Look at ‘Notions of Craft’ by Richard Senate.

–>David Joselit’s ‘Painting Beside Itself.’

Abigail Moffat