Viv around eleven in the morning, 2018. Oil on canvas. Summer – Autumn 2018.
Viv has a vibrant and intelligent presence. Capturing her look and the brilliant summer sunlight of those morning portrait sessions became the subjects of the painting. The composition has Viv and her most treasured possessions against verdant garden backdrop.
The paint itself has large variations of texture, transparency and brush marks to denote skin, metal and vegetation. I want the viewer to feel you are in the room with her, in the midst of a good conversation.
As usual with a major painting there is a book collecting the influences, sketches and different stages of the work.
The Look. Charcoal, pastel and pencils on paper 100 x 72. So, there was fabric hanging from my easel to the model. I had decided to travel light and just take a range of pencils and a rubber by my side. In the break a fellow artist had said ‘why don’t you try smudging?’ So that’s what I did. The rubber came in handy for blurring the pencil and pastel marks. The skin tones and green colouring were created the next morning before breakfast but after coffee. I like the mysterious artists in the background with just their non working hand visible.
Drapery study 1. Chalk and pencil on paper. 15 minutes.
Drapery study 2. Chalk, charcoal and pencil on paper. 15 minutes.
3 studies with material . Pencils on paper. 15 minutes.
Two nudes on blue. Acrylic on canvas board.
The night of the alternating poses.
An exciting night where things were kept moving by a new set up.
The model alternated between two poses, changing positions every 15 minutes. This made for a refreshed viewing of the model, with new insights each time.
The idea was the have the two poses on the same page. Due to my positioning I decided to move the far pose in the composition from far left to near right. The acrylic paint was laid on thickly with only some (un-needed) charcoal pencil added.
Here’s some details / crops:
15 minute nude on green. Acrylic on card. A tester for the main picture.
SL with green and artist. Acrylic and charcoal on canvas. 6o minutes.
After going to the Anni Albers show at the Tate Modern, I wanted to up my game on the colour and texture front. The painting gets thinner the further back the object is in the image. The rubber plant is impasto, the artist (David; you can tell by his trademark cross legged stance) is scumbled. The model has grace; placed against the dark grey, her skin has a luminosity.
Details of SL with green and artist. Again inspired by Anni Albers, I’ve tried to make sure the canvas works well from a distance and up close.