In continuation of my investigation towards separation of colour and using detached layers of colour it lead me to play around/experiment with using plastics, this came from reviews on previous paintings with stretched latex. The latex gave off the idea of this fetish idea in wrapping and enveloping my paintings, I thought I would carry this on in actually wrapping my paintings, furthermore I wanted to push my “Canvas Separation” pieces and see whether I could combine the two ideas together. In this piece above I believe it to be a success, there are a total of 37 rolled up pieces of canvas which where then painted with oil paints, when painting it felt like I was making anything but a painting, as if I was covering a sculpture. The next material used was Iridescent see through plastic, wrapping it around the canvas rolls felt like adding this layer that is so detached that it almost blends into the paintings. I noticed that wrapping the plastic on a dark background made the surface appear green and if on raw canvas it would appear a bright pink, an ever-changing layer of colour, constantly changing the surface of the work.
This bright, gaze gripping, almost garish plastic was mainly inspired by seeing Julia Daults work and the rolls she produces, however even though very different materials I felt a sense of similarity as it could go wrong in mis handling of the material, that mine is fragile and possible to ripe and hers possible to explode under its wrapping. This leads me onto the artist Julia Rommel and her investigation towards painting. A reason to which I have moved away from perfect colourfield is because perfection does not interest me, for the viewer to see the process through little touches through the work interests me more, relating very much to Rommels ideology towards the canvas and her paintings.
Julia Rommel at Bureau NY
Her work itself is an abundance of layers, the reason why I am attracted to her work is her approach to painting, the final piece itself is also fascinating but not as much as her attitude towards it. Her works in the exhibition Candy Jail at Bureau show a sense of correction and work towards the paintings, the physical effort of the painter being shown through stray marks etc, this shows the embrace of mistakes towards the canvas, something that I like to include in my practice. Like the piece above “Iridescent Rolls” that the back/sides and front isn’t fully/perfectly spread with the blue colour, I like the sense of floating colour and the changing surface of a layer due to not applying the exact same force onto the plain. Her attitude brings down the hierarchy of painting but still paying tribute to its greatness by using the classic elements, such as the frame, canvas and paint. I feel connected to her work as the sense of this battle with painting, maybe explaining why I am choosing to then cover the plain with materials that don’t necessarily belong with painting or that I want to wrap them, almost contain it from the vicious gaze of the viewers.