I started with the classical tools of painting and focalising the attention of the viewer towards the canvas bars which represent the plain of painting. Even though I may be using formalist materials such as 7oz cotton duck canvas and oil paints, I slowly derived from using the tool of the bush. I further questioned the necessity of this tool and whether it was important in my practice, this thinking led me to experiment with using rags and a mop to apply the paint onto the canvas.
The tool of the mop allowed me make greater gestural marks that I could not achieve successfully when using the brush. When analysing the tool of the mop I thought of its connotation and its belonging to the aspect of cleaning. Further realising that I was working the canvas rather than painting, furthermore my relationship towards my canvases seemed important and something I wanted to be visible to the viewer, for them to see process of making the artwork.
This instigated the idea of presentation for the degree show and how I would want the viewer to place themselves in relation to the artwork and how their presence could influence the work. I experimented with placing a painting on wheels which allowed flexibility in movement around the space, however I felt that this became too sculptural for further paintings where I wanted to them to really be classed in the medium of painting. I therefore thought of a way to show them on door hinges, allowing for there to be greater works presented and for them to be movable on the wall. I felt that the relationship between wall and painting was a point to be questioned and I believe this mode of hanging would question this.