11 April 2011

First day of the Easter break and I have so much to do that I don’t know where to start.  I had hoped to get my large 6′ x 15′ wall painting finished at the end of last week, but I didn’t manage to do it.  Partly because as I think I mentioned in an earlier post, I’m painting it out in the corridor.  Either there, or in my studio space which can only really hold one section at a time, and that involves finding someone to help me carry the section in from the corridor to my space as I can’t manage it on my own.  It’s been a real challenge, making a painting on a double curved surface this big, and the logistics of where to paint it, either as one continuous piece or in three separate sections, has been the largest part.  It is coming on, however, but I still have quite a lot left to do.  I’m planning to go into college the rest of this week, in spite of it being closed, and I’m hoping for the chance to work in peace.

The ironic thing has been that the tutors seem to feel that it’s all been a bit easy, and that somehow making such a beast of a painting does not involve risk.  I find it hard to believe that they really think that, but that is the implication of some comments that have come my way recently.  It made me wonder if I shouldn’t have thrown my paintbrush to the ground at some point, and had a very public crisis of confidence.  I would have had sympathy and support.  I think I might have made the terrible error of being a natural blonde who does not burst into tears when things get difficult.  I wonder if some people find that difficult to cope with?  If they would much rather I collapsed under the weight of my  problems instead of trying to resolve them myself.   Blondes shouldn’t do that.  They should demonstrate appropriate womanly weaknesses and rush to find a shoulder to cry on.  Any one else have this problem?  It’s enough to make one think seriously feminist thoughts! 

Needless to say, there have been countless problems, one of the largest being that because of the double curve, it’s extremely difficult to see the whole thing.  I planned this on purpose, so that the viewer would have to walk the length of the work to see it in its entirety.  I thought it would be appropriate, as it’s title is ‘Myth’.  Like a narrative, the viewer would then experience the ‘beginning, middle and end’ ness of the thing;  it would entice the viewer to see what is literally around the bend, and therefore  make the viewer take more than the benchmark ten seconds to take it in; it would involve them in walking, which is where my working method begins; and the double curve keeps the landscape feel of rolling hills running quite effectively.  The repercussions for the painter, however, are exacting, as the same restrictions apply.

So, there are now extra things which I’m engaged in (to demonstrate that I can and do take risks in my work) which all have to be fitted into the same short allotment of time.  Actually it’s quite exciting, involving the writing of the myth that the painting is based on, and working with a music producer to ….   But I shall tell you about that part another day.  Not to mention all the prescribed written work that has suddenly accumulated.   Such as the need to make artist statements.  I’ve written three short ones, which I may share with you in my next post, but now one has to be written which is 1,000 words long.  And I don’t know where to start with that.  Oh joy. . .

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