I’ve been working on a very large canvas recently, and after finding out the process wasn’t really lending itself very well to my aims, I switched it up and decided to work on board instead whilst the canvas is drying.
What I’m looking for is a way of cutting away the layers to reveal the light underneath, something which I cannot do if I put down a mid-tone colour base on a canvas using oil paint. So instead I primed a MDF board and coated it in white oil-based eggshell paint, meaning I can peel back the layers on top to get the light back – a process which worked very well in my drawing work.
Something which I’ve had input on is that I resolve my work too quickly, and by doing so I don’t give them room to develop through layers. That’s something I’m really trying to focus on with this piece, and probably with the canvas too, having recently painted over it with the white eggshell for a fresh start.
I’m taking some new influences such as Adrian Ghenie, whos layered painted work is absolutely phenomenal, as well as Peter Doig, who adopts a different technique but a similar rigor of depth. I’m also looking into Francis Bacon and Gerhard Richter, along with a couple others. I’m already seeing more success with this method, and I have to say it’s proving to be intuitive for me, which is always a good sign.
The name for this project is taken from the “cartesian plane” co-ordinate system in mathematics, a grid which resembles the kind of grid I am using to overlay the geometric marks. This working series is entitled “Cartesian Plains” because I’m investigating landscape and nothing is above puns.