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606 Club

Following my recent obsession with all things Gerhard Richter, and experimenting with some more advanced approaches to moving paint around, I’ve decided to push the Time-lapse paintings beyond the (so far) quite contained use of painting knives to a) liven up the surfaces and colour blending much more and b) use the under-painting more strategically, and radically, to positively effect the on-going process.

 

Here, therefore, is The 606 Club. The ‘ghost’ of the linear markings has been retained (where oil colour has, in effect, filled in the ‘valleys’ of the lines) and elsewhere a pleasing outcome of the squeegee pushing the wet paint into the dry, leaving gaps in places etc has been achieved. The original ideas about colour (attached to the original response to reading the MO) have been maintained. After 3/4 days I will work over this again, in a similar manner but with a different colour, only with more selective use of knife work if needed to tidy things up…

Nameless

Milking It

With Nameless I felt a brighter palette was required, if only for a sequence of on-going under-painting before reverting back to greyer, more neutral colour. The original composition is picked out and there is an attempt to move the paint in contrasting directions to emphasise this… Latest version of Milking It. Has a nice border I’d like to retain…the blue colour is getting close to my memory of 60s milk delivery vehicles…

Scars Of Bremen

In Real Time

Scars of Bremen has this central column (representing an RAF plane’s flight path to the target) allowing me to move the paint upwards through the middle then sideways from the middle to the outside edges bringing an interesting contrast in movement. The eventual colour, I’m fairly sure, will return to the light-emitting radar screen green I set out to use, but possibly following a sequence of treatments like this, and with evidence of a wider range of colour showing through than originally conceived… Here we have a partly treated section to the painting before I attend to the larger, drier area (in green) in due course. The advantage of using large tools like squeegees is that you can make the main gesture in one sweep and see what effect it has when you’ve completed it. Here there are some attractive remnants of the dry (darker) tone of orange left behind…

Plus Ca Change

Thrice NY Chimes


 I was having some difficulties anyway with the composition of Plus Ca Change (notably the spacings between the diagonal panel gaps and the 2 square panels in opposite corners along the bottom edge) so the more extreme approach to applying the paint might help me find a way through this by somehow using what’s already there but finding a solution at the same time… Only the merest hint of the original composition of this painting remains ghosted by the latest paint treatment. I’m minded to work over the original lines for a few treatments yet before re-drawing the composition and, possibly, show up some deliberate contrast in techniques as a consequence. The approach also seems to include a more celebratory use of colour which befits the theme of the MO…

Nameless

White Elephant


 And finally the latest version of Nameless…this one getting very close now…

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