Now, when I start trying to plan big ambitious complicated paintings, the first drawings ain’t that pretty, because if they were, all perfect, there’d be no process or growth or point in doing anything to them.
The ‘ambitiousness’ needs time and space to grow.
That was a tiny drawing from my sketchbook. In tiny drawings in little pencil boxes on a sketchbook page, I can be quite nuts and stream of consciousness about things.
On reflection, I think a lot of the swirls and scribbles come from looking at good etchings (Rembrandt, Goya, Picasso) and wanting to get some meaningful expressive line-business in there amongst my paint. I want it all!
Wanting it all may be a crucial part of making my new work good.
There is to be a large threatening bat encroaching on a post 2012 world in which wrestling has been declared the supreme means of human cultural expression.
There’s more to the setting and backstory, probably, but I’m not no storyteller.
I’m going to get my boy wrestlers in there and make them be meaningful with their shiny sweaty faces.
I want to find the humour in my pigheaded seriousnesses and the seriousness amongst the silly pleasures in my life and in my hands.
Sketchbook pages get quite ugly when you’re trying to think about which acrylic colours to choose and which oil colours to put over the tops of them.
I should clarify, possibly, in the light of my last blog about those particular colours and John K’s recent blogs about colour, that I listed the actual tubes of paint I had picked out to use exclusively, rather than the neat colours I would be using on the picture. I mix them up. And I glaze and mingle them and it’s all very confusing, but I’m getting less confused. Whether I mix them up well or put them down nicely is not for me to say.
There are the mere rudiments of a painting. There’ll be progress on this soon, as I’m all obsessed with bats and inserting them in pictures.
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