Interventions Series - 1
Painting as a marginal activity
Painting as process.
The first stage in the process is to coat the support with an opaque layer of black acrylic paint using a brush. On canvas supports fixed to a stretcher this base layer continues round the sides. The starting point is a totally black canvas. On recent canvases I have made some preliminary interventions in white paint on the black. The next coat of paint is a cobalt blue, also applied with a brush, which being slightly translucent allows the black to show through where the blue brush stoke was thin. It also allows any white interventions to show through. The next stage in the process is to make interventions on this ground, hence the series title is ‘Interventions - Cobalt Ground ’. The interventions are all made with a brush in acrylic paint. Acryclic paint lends itself to an additive process. Many of the interventions are single brush strokes, some larger areas being an accumlulation of a series of brush strokes. Generally I work with large brushes at the start and progressively reduce the size of brush as the painting activity continues. The brushes used are mainly flats, one-strokes and wrigglers. The acrylic paint is Liquitex. The supports are mainly 15oz cotton duck, a few are linen and some are paper.
Paintings as communication
From the above description of the process employed in making the paintings is is clear that there are a set of rules, a sort of programme being followed, a kind of game. It is possible the read the archaeology of the painting. For example if there is an area of red that is clearly on top of the blue ground and the blue can be seen to be over the black, and if the red area in turn is overlaid by smaller brushmarks then a hierarchy of ordering is apparent. There is no artifice in how it has been made. There may be doubt as to why it has been made.