Roxy Walsh (Walsh, 2007) uses small tondos to paint symbols or motifs which she exhibits along side large scale paintings of the same symbol. I can imagine the small tondos get the viewer to pause and take a closer look before continuing to look at the collection of paintings as a whole and the larger pieces.
Mark Fairnington’s eye paintings (Fairnington, 2006) get you to take a closer look with the extreme detail and realism of the eye and fur. This could be taken as using a telescope to look closely at the animal.
Iain Andrews paints religious subjects, abstract paintings of figures, with strong impasto expressive marks (Andrews, 2007). He paints a blurred often layered background, then strong thick impasto painted marks to represent the figures. These painted marks are sharp in contrast and may have raw paint mixed on the brush creating bright streaks of paint.
Henny Acloque (Saatchi Art, s.d) painted a series of old style landscapes of the countryside with some abstract mark within the scene. The abstract mark immediately takes the focus, like graffiti or a cartoon over a traditional painting. The marks obscure parts of the landscape. The landscape is painted roughly with appropriate marks to show the landscape. Its not totally clear why the artist chose to use circular and oval shapes for some but not all in the particular series.
Plate paintings by Mindy Lee (Lee, 2014) are more interesting if a little disgusting. They are a collection of paintings of a woman (Venus I guess) with the guts of the body flowing out. The colours are a subdued and slightly earthly. Very thin acrylic is used for parts with stronger heavier detailed work drawing attention e.g. to the feet. Often much of the plate is left white making the plate more of a feature including its rim. Although the plate is supposed to be aluminium so I’m guessing there is a layer of paint as a ground. The paint is also mixed with a medium to make it thick, transparent and glossy to paint the guts. Often she removes the paint to reveal parts of the woman. The angle used to view the woman is also interesting when its from above or below.
Virginia Verran’s (Verran, 2012) paintings feel technical or scientific with drawing and painting over layered. The drawings in pen add a sense of technical thought or description of the world with language and symbols. The colours of black and red seem to add meaning to the visual language.
David Manley painted various viruses such as yellow fever (Manley, 2013) on tondos and its like looking down a microscope. The tondo is in this case an natural choice to frame the subject.
Charlie Day and his wife Tori both paint the interior, Charlie simplifies the scene, capturing the character but without the need for realism, whereas Tori uses a more realistic style to paint objects which are setup and framed like a portrait. The objects are displayed to show them off whereas Charlie paints as is in situ. Charlie painted a pillow (Day, s.d) where someone once slept. Background is painted smooth and dark and the pillow heavy and dented where someone had laid. The pillow must have been old or of material which keeps its shape. He uses thick paint in places to highlight the pillow along side other pillows on the bed. Tori painted a used toilet roll (Day, 2015) sat alone on a shiny surface. She also uses impasto paint to paint the object.
Jacqueline Utley’s Lace meeting room (Utley, 2017) captures the whole room from ceiling lights to floor rugs and gives space to show this context for the people within.
Annabel Dover (Dover, s.d) paints small paintings of her own photos and images taken from Anne Franks wall. Those from Ann Franks appear old and delicate with very thin paint on a pale brown ground. Those from her photos appear new and clear.
Nude in an interior (Bonnard, 1935) is a glimpse of a nude woman in a room. Most of the painting is of the room with bright heavily patterned walls and floor from the 1930s. The woman is in another room seen through a partially open door. This makes me try to look closer to see what the woman is doing, it obscures most of her, you can see she is stood facing with her hand holding up her hair and head turned to the side. The colours of the walls and floor are vivid, saturated and heavy making the nude feel lighter.
Bonnard, Pierre (1935) Nude in an interior. At:https://www.artsy.net/artwork/pierre-bonnard-nude-in-an-interior Accessed on:23/10/17
Day, Tori (2015) Finished. At:http://www.toridayart.co.uk/gallery_665685.html#photos_id=13964814 Accessed on:12/10/17
Dover, Annabel (s.d) National Velvet. At:https://www.saatchiart.com/art/Painting-National-Velvet/159511/108916/view Accessed on 23/10/17
Fairnington, Mark (2006) Tyger Tyger. At:http://www.markfairnington.com/page10.htm Accessed on:11/10/17
Lee, Mindy (2014) Better Out Than In Venus At:https://mindylee.me/2012-2/ Accessed on:11/10/17
Manley, David (2013) Yellow Fever. At:http://www.davidmanley.co.uk/index/Archived_Work.html#6 Accessed on:11/10/17
Saatchi Art. (2007) The Ecstasy of St.Teresa by Iain Andrews At:https://www.saatchiart.com/art/-The-Ecstasy-of-St-Teresa/10759/99692/view Accessed on:11/10/17
Saatchi Art. (s.d) 10 by Henny Acloque. At:https://www.saatchiart.com/art/Painting-10/30953/2162085/view Accessed on:11/10/17
Utley, Jacqueline (2017) Lace meeting room. At:http://www.jacquelineutley.com/ Accessed on:12/10/17
Verran, Virginia (2012) Bolus-space-Bonner-space. At:http://www.virginiaverran.com/pics/1307.html Accessed on:11/10/17
Walsh, Roxy (2007) Felix Culpa at Bast’Art, Bratislava. At:http://www.roxywalsh.com/page9.htm Accessed on:11/10/17