OCA drawing 1.1

Discover a language of mark making by researching relevant artists. Document the discoveries that will aid the creation of similar artistic ventures in the future.

The brief called to create a piece from inspiration, and my gravitation was towards an artistic style that included space within its process to develop layers, add, erode, and change tempo. Something that is inline with nature and those qualities.

Abstract expressionism is a perfect narrative for the landscape.

I referred to the work of Australian painter Claire Kirkup. And can see backwards links from her work to Joan Mitchell, Cy Twombly, Monet……

During the process of creating my painting, I constantly referred back to the work of Claire. Every stage and challenge brought fresh insight into her technique. Things that would not be revealed by solely studying her work academically. Trying things practically on my canvas connected me deeply to her brush strokes. How much pressure she applies for certain marks, slow or fast tempo to create certain effects, layers of colour to support or repel……..

Initially I was trying to make perfect marks. Measured and controlled. Yet, I wanted to produce a lively and fresh painting. I had to go through a process of letting go and being experimental.

Before completing this project I painted with fear. I feared the feeling of not being satisfied with something that means so much to me so I was over cautious with my approach. Yet I always valued the most the marks that happened came about accidentally. For example when the brush throws out a stray bristle and creates a light adjacent detail, or the paint runs and adds a sense of depth over an existing layer.

I understand now that releasing control early on in the process creates a lively foundation. And then in the subsequent layers that follow, you can relinquish the control as you tighten up your vision.

CLAIRE KIRKUP

The painting process I have documented below is the first attempt I made at studying Claire’s brush work and seeing how it could enable my vision. Here I learnt the above lessons. I did not successfully execute the ‘letting go’. This painting is still too prescriptive for what I want to achieve, but this was the painting that taught me all the said lessons. In the second painting that I submitted for the exercise at the glacier, I increasingly loosened up the mark making. But I still see room for improvement, it’s a case of gaining confidence.

One of the most influential factors with these types of paintings is time. You need the luxury of time to put them away and come back with fresh eyes. And to be able to paint with integrity rather than haste, trying to snatch at the finish line.

The next discussion would be, ‘What are the qualities that make a finished and respected painting?’ It’s obviously subjective. But from my own point of view there are certainly certain marks, and finished works that speak to me in their own entirety and represent their subjects or theories.

List of Images

Cover Image Flockhart, K. (2024) Installing A Drawing Study Painting 1. [Acrylic on canvas] In possession of: The author: Volleges.

Fig.1 Kirkup, C. (2021) Sounds of horns ringing gently. [Acrylic on canvas] At:https://www.clairekirkup.com.au/hot-springs-2018-1 (Accessed 01/08/2024).

Fig.2 Kirkup, C. (2021) Don’t be a broken bird just dance. [Acrylic / vinyl on canvas] At:https://www.clairekirkup.com.au/hot-springs-2018-1 (Accessed 01/08/2024).

Fig.3 Mitchell, J. (1990) Sunflowers. [Oil on canvas diptych] At:https://www.hauserwirth.com/hauser-wirth-exhibitions/3174-joan-mitchell-sunflowers/# (Accessed 10/10/2024).

Fig.4 Flockhart, K. (2024) Process 1: Installing A Drawing Study Painting 1.[Acrylic on canvas] In possession of: The author: Volleges.

Fig.5 Flockhart, K. (2024) Process 2: Installing A Drawing Study Painting 1.[Acrylic on canvas] In possession of: The author: Volleges.

Fig.6 Flockhart, K. (2024) Process 3: Installing A Drawing Study Painting 1.[Acrylic on canvas] In possession of: The author: Volleges.

Fig.7 Flockhart, K. (2024) Process 4: Installing A Drawing Study Painting 1.[Acrylic on canvas] In possession of: The author: Volleges.

Fig.8 Flockhart, K. (2024) Process 5: Installing A Drawing Study Painting 1.[Acrylic on canvas] In possession of: The author: Volleges.

Fig.9 Flockhart, K. (2024) Process 6: Installing A Drawing Study Painting 1.[Acrylic on canvas] In possession of: The author: Volleges.

Fig.10 Flockhart, K. (2024) Installing A Drawing Study Painting 1. [Acrylic on canvas] In possession of: The author: Volleges.