ORION. Oil on canvas. 75 x 75 cm. Painted over two life sessions with the model at the fabulous Mary Ward Centre, two sessions preparing the canvas, sketches, a session painting the fabric and four further sessions, finalising the work in my studio. The use of layering in oils was used with a 50/25/25 oil paint to liquid and zest or refined linseed oil. This adds to the perceived depth, complexity and richness that would be impossible in acrylics.
Some details showing the two hunting dogs (Canis Major and Minor), The stars of Orion with the trail of an arrow / comet, Some close-ups and my signature.
Circus poster. Pen and photoshop. The illustrations had to be general, with and a tad child-like. There is some play between what is in the frame and what object is infront of another. I drew the man with stilts around 10 times, a really intriguing image. The typography is from my archives, some made by me, some printed by me, some coloured by me. As usual, there was a lot of information to impart, with a strict hierarchy of messages. The drawings were made to be placed in different areas and on different posters as you can see below.
Painting in progress, untitled. Oil on canvas. Using a mixture of liquin and zest. The colour choice was ochres, cobalt turquoise light, raw sienna, lamp black and windsor blue. I’ve made the model have a bow. I’m researching archery now. Below is a close up.
Two sketches of the model. The first is for the painting, the second was a warm up pose.
Two chairs, one empty. Acrylic and pencils on paper. I had some thoughts about a photograph in a magazine and in almost a fit of creativity, drew it onto of the painting. The new figure is a kind of ghost interacting with the work underneath. Some thoughts about the thread of life are in there.
Two chairs, one empty. Acrylic and pencils on paper. The painting has power, though this mostly comes from the wheelchair and the non-presence sat in it. The model was able bodied. I painted freely, not feeling that I needed to connect parts together. Later when the work became more realistic, I thought more drawing earlier might have helped. The palette was restrained, facial features were enlarged, the background was covered and shadows were added. I made a study of the wheelchair which also had a rather odd feel.
Is it a Queen without her King? Or a wheelchair bound person in a chair?
5/6 poses and one reflection. Acrylic and a little compressed charcoal on paper. The wheelchair makes a great prop. There was a large arm that was painted out. The images were painted in sequence from back to front. Plus some details of Two chairs, one empty.
Dominic wearing Barrie’s mask. Pencil and acrylic on paper. Dominic has a bright, positive personality, which shows through even in this muted painting.. His face was covered by a mask, hence the blurry feel. The mask was worn by another model, the great Barrie who has recently passed on. Old paintings and drawings of Barrie were put behind Dominic. The two pencil dots were the last things to be added. There is a play of greys, ochres and blues. The corner composition works well. There were plants around him, which I decided to leave out, as was the large piece of fabric on the floor. After seeing a Francis Bacon exhibition, I wanted to photograph this painting in a frame with glass in it, for the reflection.
Details of Dominic wearing Barrie’s mask. I like the abstract nature of these close ups. You can see every decision made.
Dominic x7ish. Acrylic and charcoal on paper. The main face has another persons features as it was painted in the break.
Two figure studies. Chalks on black sugar paper.
Dominic Close. Acrylic on black sugar paper. He was very close, hence the exciting perspective. I should do more of these.