Pink in Progress (Over/Under work)

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‘Rizzo’ in progress

Working for the piece for the Pop Up Pink exhibition has made me realise how much I miss painting. Although I love the direction my work has taken and all the exciting things it’s led to that I thought I would never do (performance being the prime example), I will never give up the paint brush. There is just something so special sitting down with and focusing on a material; building on it, contemplating it, analysing the creation process. When I paint, I can not get enough water. I love loose fluid works, drips, diluted colours, layers. 

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My paintings are very time consuming and are very much a long drawn out process, mostly due to the necessity of drying time. If I get to eager and paint over a layer that’s still wet, my effect is ruined. So patience is key. I tend to paint in stages, dipping in and out of a work. I think this is actually the way I work best in most senses, as when I write an academic piece, I have to let it sit for a few days before I go back and look at it again. I tend to bang it out in one go and then leave it for a week and almost forget about it as the deadline nears! But it’s the same when I work with paint. I like to be fully absorbed by the process, but then I also like to step back and leave it. Really think about what I’m doing and how I’m layering it. Sometimes this really doesn’t work as despite my attempts at contemplating, I still over work the paint. 

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This is the most frustrating moment for me, as my paintings are not the kind where you can just cover up a mistake. Once the mistake is made it’s there to stay as the paint is applied so thinly, it would completely ruin everything if I tried to obscure it. So I think this is why I have started to implement time into a piece more over the years. the older I’ve got, the more I’ve realised you can not hurry or push the creative process. Otherwise you put a pressure on it and it backfires with you creating nothing! With this work I feel I overworked it slightly, but hey I’ll know for next time!

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Pop Up Pink (Part 1)

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Tuesday night was the Pop Up exhibition of Pink inspired by and a result of the ‘Pink’ talk for Colour Studio Northumbria (http://colourstudionorthumbria.weebly.com/). These are weekly conversations mostly led by fellow course mate Rebecca Gavigan. Having led one this week myself on the topic of ‘Time’, I am even more in awe of how she puts them together – especially on a weekly basis with everything else we have to contend with as final year students. Other students and tutors have also led talks  and it’s a really interesting mix of topics that are discussed including things like laughter, material, chance, etc.

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So it was really exciting to see one of the talks mould and shape an exhibition. One of the primary focuses of the exhibition was the motif of ‘shifts’ due to the development of our conversation during the Pink Talk. We covered and shifted across so many different topics that it seemed appropriate to incorporate this aspect into the exhibition. Whilst researching in preparation of the talk I kind of hit a wall. As I have an incredibly girly girl sister, it is difficult for me to look at pink in a way that surpasses my sister’s excessive use of it! I’m not saying that’s a bad thing, I love that when I think of her a colour instantly springs to mind, I think that’s a beautiful way to visualise someone you love. However, it did mean I had to try really hard to distance myself from those associations in an attempt to research more broadly.

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‘Transfer’, Sue Spark, Highlighter and oil on paper, 2016

The Pink Talk was mainly questioning the ‘art pink’ that is so present in the art world today. If you look at art thinking about pink you really do start to notice it’s presence everywhere. Whether it’s a pastel pink, a funky neon pink, or a muted dirty pink; all sorts of variations can be found in different places and across artistic practices. Even in catalogues and publications, pink really is the ‘in’ thing! I can’t tell whether or not I’m surprised it has become a trend, I suppose given the conventional associations of the colour all of these interpretations are an attempt to redefine what pink can be. 

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‘Untitled Slants’, Charles Danby, Acrylic, oil, pencil, ink, magazine, highlighter, paper, linen, 2008-16

What I love most about the Colour Talks is they take something simple and expands it into realms you had never even considered. In my reading of pink I was thinking about gender, feminine elements, flesh – those kind of associations. Of course in the talk we did discuss these. It turns out pink was historically more of a boy’s colour, as it is a diluted version of red which of course symbolises male strength. This is something I would never have guessed myself given all the pink baby girls clothing we are constantly bombarded with! The talk also covered things such as pink in the natural environment and how this colour  can be really striking in that context. The discussion had so many components to it that I don’t think I will ever look at pink in the same way again!

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‘Jawbone’, Projection, Matt Young and Nikki Lawson, 2016

It was interesting how for the most part, those of us who exhibited a work were drawn to the use of a more high frequency pink. This was completely accidental as nobody had discussed the exact tone they would be using in their piece prior to exhibiting. We only realised once all the works were placed in the room. It therefore perfectly demonstrated exactly what we all felt was ‘art pink’. 

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‘Oh Sorry’, Rebecca Gavigan, PVC and highlighter, 2016

We were also all free to choose what we submitted in terms of media, so there was a good range as a result. The mix included installations, video, paintings, drawings, work in situ – there was a bit of everything. Eclectic textures were present too which evoked tactile sensations. Each work had been carefully placed and hung in order to allow the eye to travel across each piece. Placement was key to how the pieces were all viewed and navigated so I found having work on the floor as well as the wall added a dynamism to it all. It was curated in a day and although this was a very brief time period, it was long enough to let me see the thought and process that goes into curating. Something that I currently have little experience of!

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‘No Sexual Connotations Intended’, Samuel Johnson, Timber, mesh voile, gloss, oil and iridescent paint on canvas, 2016

Following this exhibition however I am intrigued by the idea of curating. There’s a responsibility to assembling works effectively; not only to the pieces themselves, but also to the artists who made them. I’ve never done it before but having seen how thoroughly Rebecca considered the hanging of each work, I feel it could be a really exciting thing to try!

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Close up of ‘Rizzo’, Camilla Irvine-Fortescue, Acrylic on canvas, 2016