From painting the canvases for ‘Loading…’ and ‘LSTV’ I had marked a table in my house and whilst scraping it off I began making patterns and working around the different textures that I had unknowingly made. The table was covered in paint quite thick and it was possible to see the imprint of the canvas between the table and the paint, creating a piece that documents the evidence of a performance. If I ever find myself painting another large scale canvas in this repetitive process I will paint a board white to use underneath to capture these accidental marks as I was upset that I could not keep the outcomes of this piece.
I used some of my close up photographs of this removal process and the textures left behind by the paintings as backgrounds for new paintings. I experimented with painting over these colourful compositions with white to create new spaces and forms, and to possibly use for the background for line drawings. As pieces on their own I think the use of white is quite interesting for disguising or neutralizing a space, I also experimented with painting AstroTurf white in an attempt at disguising it’s materiality.
Scraping the paint of became easier as lumps of it formed on the sponge I was using, this created very small formations of flaky dried paint. After seeing Tetsumi Kudo’s work at Hauser & Wirth I played around with using AstroTurf as a backdrop to these abstract forms. I noticed that close up they looked like moss or even lichen, and the AstroTurf composition encouraged this comparison.
Using a macro lens I photographed these forms, cropping them to look much larger than they really are. Blowing these up and printing them on A3 I arranged the images on the wall next to the paint forms. This felt quite resolved in some ways as the comparison between the 2D image that shows the details of the object in comparison to the very delicate form next to it demonstrates the objectivity of the camera. The photograph gives aesthetic insight into the object but does not give us the rational information about its size. I found this comparison visually quite successful here even though this feels rather too polite but still this piece too thinks about the natural and artificial in a new way.
I have noticed that in a lot of my work I tend to try and use all outcomes of a process, the marks that are made elsewhere as a by product of making something always seem to interest me, and I often cannot see them as separate from the intended piece of work.