PAINTING
Many of my narratives are composed from unrelated sources. I hire live models who are then collaged with the images of other models. Sessions occur in the studio, separate from the environment, which is later implemented in the painting. Background areas are rendered from installation or photography. Despite this disparate selection of collage, I try to ground images in a reality by altering edges, lighting and colour.
I begin by hiring a model, for a photo shoot. I choose an image and draw several sketches. I use a mathematical grid, calculated from an algebraic formula and put the image to canvas. I use this like a map throughout the process. I make studies of the anatomy and topographic of the model, which are also used like a map. The model returns for the first of several three-hour sittings. If the work is large, I may more than ten sessions. Days can accrue between sittings; during this time, I consider symbols, alternative content, background imagery, clothing, lighting, and technical approach.
I use a ‘wet on wet’, glazing approach with impasto. I call this method ‘threading,’ where by thick layers of paint, often differentiating colour, are applied on top and through each other in a ‘direct’ manner. When paint is applied in this way it can look even and sharp. It is tremendously difficult to do, since an error in colour or direction of mark can result in disaster. When this occurs, I scrape whole sections off and re-start. This can sometimes account for six hours of sessions.
Many of the surfaces in the background are achieved using glazes. Glazes involve much planning as each layer must dry before the next can be applied. Some areas may require four or five layers. If there is an error, this section can also be sanded down and repainted.
I combine several painting methods, which vary in their art historical contexts. Resolving the surface of these works involves much problem solving, so I work on more than one painting at a time. I tend to complete a series of twelve around the same time. One large painting can take anywhere from two to six months to finish since sessions must accommodate the schedules of two people.
Re-directing, controlling the concepts, and adding interesting, smart elements to a project can sometimes proof disastrous. I think the subconscious mind is often far more innovative in its creative proverb than the conscious mind, often re-iterated by the synchronicity that occurs between art and life. Many works can be well planned, however if events in a life change, so can the work!
SKETCHES AND ANATOMICAL DRAWINGS
In this section there is an assortment of idea and thumbnail sketches, preparation, anatomical and topographical drawings. Anatomical drawing is a more recent undertaking. These sketches are an important resource in model sessions and help me problem solve when determining the most appropriate mark.
In presenting the drawings I hope to reveal part of the process and the evolution of an idea. As a large component of my process, drawing helps me gain familiarity with the subject. Problem solving, concept, composition and mark making of a painting can be determined in this initial stage.