So, I'm moving into a sequence of repetitive application of materials, stripping down (by the rain) and re-applying mediums (salt water, clay, charcoal, plaster, sand and a little cyanotype) onto canvas boards. The reasoning behind this process is to invite the elements to participate with the paintings and contribute to their degeneration. All the work is created outside and the elements at the time of making contribute to the visual and drying aspects of the work. A little cyanotype is applied which mixes with the other materials, reacts to the sunlight and creates blue and orange tones contributing to the overall imagery. I am conscious of using cyanotype and its chemical base, but I see this as a juxtaposition against the natural materials of clay, charcoal and plaster as with other organic work I have produced such as ice sculptures containing monofilament; it represents the invasive nature of modern-day pollution, climate change and technological intrusion.
Reminiscent of Turners landscape paintings so far, I'm finding the pieces have become very romantic in nature with much movement and likeness to volatile weather systems.
Some of the works look great at the 'stripped down point' and some after the application of materials and I am now wondering at what point do you stop the process? The main aspect is the aesthetics and the goal to realize a perfect 'mark'. My exchange and dialogue with both the materials and the elements who contribute to the production of the works are now becoming a sequence of exchanges, recording, wiping away with only the strongest of marks remaining. Over time these boards will start to deteriorate which in itself this degradation becomes part of the narrative of presence and making. The aesthetics in the formation of alchemic moments and the remnants of degeneration and decay, are the key moments I am searching to preserve.