Slick flat paint – Gary Hume
Water painting 1999 3×2.5m household paint on aluminium
I feel relaxed and also a little on edge wondering what the woman is about to do. The colour and the way the woman’s hands rest feel relaxing. The approach and gaze towards the viewer makes me wonder what she is going to say or do. The outlines remind me of a movie Ex Machina featuring a female robot.
I find my eyes drawn to the top eyes then down diagonally to the right then left. Diagonals bring me away from the eyes and face down to the breast.
Abstract style and one of a series featuring overlapping outlines of nude woman. The title to me suggest calm and reflective. My understanding on how this was painted is that a small painting was done first and then projected onto the aluminium sheet. The green household paint was then used to paint the gaps between the lines. This suggests the outlines were already painted on the image to be projected. Its not clear if the white of the lines is an undercoat or primer or paint. The choice of paint produces a reflective finish which could act like water and reflect the viewer. The large size creates a major presence, larger than life.
I’m planning to get some household paint and something like aluminium to try out some ideas.
Source Tate online, British Council
Black & white – Ali sharma
Doreen 2014 oil on canvas 30x25cm
I feel slightly energised by this bold painting. This is one of series of portraits from famous movies. They remind me of courtroom drawings showing the expression of those in the docks.
The headshot and contrast really draw your eye into the face and the eyes.
The style is gestural with each brush stroke evident. The black and white brings out the expression and features.
Families 4 2013 oil on paper 35x27cm
The owls reflect a friendly , curious look. I like the apparent ease by which the brush strokes capture the owl, expression and composition.
The eye is drawn to the eyes of the closest owl moving up and along the faces then down to the feet. The owls seem at ease with being so close to each other, assuming its not the same owl then they are friendly.
Source Alli Sharma
I made some copies from the painting, continuous line drawings and a painting using appropriate brush sizes and black acrylic. I tried to be gestural without going over the same area. I like being able to show the brush strokes more clearly through thinner paint and not over working it. This is obviously more challenging as mistakes are hard to correct in similar fashion to watercolour.
Loose thin paint – Mimei Thompson
Butterfly Oil on canvas 2014 20x25cm
I feel happy and impressed by the way it appears illuminated like glass. It reminds me of animal glass sculptures. The eye is drawn to the wings which loop round down to the body and out along the tail.
The style is gestural and delicate with each brush stroke visible. Its like a detailed study yet very simple. The colour choices are limited and complimentary.
Untitled cave painting (1) oil on canvas 76x61cm
Feels dream like, other worldly and alive. Eerie because of the organic shapes and colours. Reminds me of a cartoon with because of the dark outlines and simplified forms. The colours feel harmonious. The eye is drawn to the bright lake which seems to be the source of light for this underground cave. The eye moves along to the right then up and around the top and down the left side, maybe its drawing you out of the cave.
I really wanted to be able to create the effects by applying the paint with a single brush stroke. But I quickly found that the paint consistency and surface quality were going be important. I tried acrylic and oils on paper and canvas. In both cases the paint was being absorbed by the surface too much. I did then try coating the surface in a layer of gloss gel which reduced the absorption but still not enough.
Colour & Patterns – Peter Doig
Blotter 1993 oil on canvas 249x199cm
Feel happy and excited because it brings back memories of playing in the snow and the quiet still atmosphere. It feels cold and fresh. I like the contrast of the woods against the snow bank and the interesting purple glow in the reflection.
My eye is first drawn to the figure then down to the reflection then around and back up to the woods. Background colours are muted and the foreground high contrast. It seems as though there are many layers. The figure seems illuminated, in the spotlight. The title refers to being absorbed by the landscape and also the process of painting. Absorbed both as a painter and viewer. Large size also means more time invested and therefore more absorbed. Whilst I can’t see it in person I can see close up photos showing thin layered paint and thick blobs.
I felt I needed to get absorbed in painting too with a response and focussed on recreating elements of the painting through painting a series of layers. I chose acrylic because its versatile and I don’t have appropriate oils. I enjoyed painting this and found I liked the painting even more. I omitted the figure because I was focussed on exploring the background layers and colour. The finish is not as vibrant as I would have liked but I do like the blue glazed over the warm browns and greens.
Figures in a red boat 2005-2007 oil on canvas 250x200cm
I feel uncomfortable but intrigued about the mysterious boat drifting in a ghostly tropical landscape. The blood red reflection makes me feel uncomfortable and intrigued by what they are doing.
The landscape is mostly hidden and slowly coming into view. The eye is drawn to the figures in the boat moving along then up to the trees from right to left. The colours are muted and complementary. The background is painted very thinly and seems to be absorbed bled into the canvas showing texture of the material.
It is abstract. The reflection is exaggerated and stands out of interest because its not realistic, seems to be showing something more.
Realistic – Chuck Close
Self portrait 1997 oil on canvas 259x213cm
Amazed by the overall realism generated by a very methodical use of colour and patterns. It reminds me of the pixellated computer images. Its not something I personally like but I’m impressed and intrigued by the idea. My eye is drawn to the eyes then closer to the individual squares then moving around the features, constantly stopping to take in the wider view. It is abstract. The colours are strong.
I chose to recreate a portrait using his technique. I divided the page into 1cm squares then outlined the face and features. The painted each square with a dominant colour appropriate to the portrait then filled the middle with a mix of contrasting and complementary colours. I can see the face starting to appear and maybe with more squares and more time on choosing the right colour I think this would work well.
Messy – Cecily Brown
Wood oil on linen 96×72″ 2003
Feel awake and wide eyed, there is so much visual interest yet its hard to describe it as a whole. It reminds me of camouflage. My eye moves around all over from shape to shape trying to see things. I feel like I will always see something new in it. The style is abstract and gestural. Theres a huge amount of energy. Theres high contrast creating form and surprising depth. The colours are earthly and harmonious. I like how the blue compliments the earthly browns. The subject is in the woods and fits with the title. There is sexual nature to this as in most of her work. This is not something I would normally like or consider looking at.
The adoration of the lamb 2006 oil on linen 78″x78″
This feels alive, fun. I can’t make sense of this painting but it reminds me of a jumbled up painting from the cistine chapel with the striking royal blue. Religion is a major theme in this painting. I love the brush work and overall feel with the contrast, vibrant colours.
I decided the colours used in these paintings played a major role and whilst I’m not going to be able to recreate the painting I wanted to capture those colours and compare. Theres definitely a calmer feel to the left compared to the louder right side colours.
source gagosian cecilybrown