Studio Diary: 12/10


When embarking on painting again after a prolonged absence often the hardest thing is simply picking up a paint brush, and having just moved into my first dedicated studio for a number of years the feeling of intimidation was only compounded. My mind was taken immediately to Phillip Guston’s profoundly accurate quote, ‘studio ghosts’, and the daunting nature of being present in the studio; Continue reading

Studio Diary: 04/04



I’m not really sure of were these pieces fit into a wider narrative – of either my practice (past and present), or to the practical element and requirement of the PhD. I am, however, not overly concerned by that, or even think that matters. Sometimes just being prepared to place oneself in the environment of the studio, or to place oneself in the line of fire is enough. Through simply painting, ideas have a tendency to catch up  – trust in your abilities, intuition and experience.

The importance is in working intuitively, responding to things as they occur and arise. Follow your instincts and experience. Observation, reflection and response.


Working by directly applying ink through a pipette. Continuing through the limited palette I previously extended: Ochre and Black.

On Hahnemuhle paper, I first applied clear water from a pipette in a fluid motion – replicating the strings and threads, reminiscent of Pollock’s late technique. Directly atop the pools and threads of water beginning to saturate the paper, I applied an ochre of a fluid consistency through the same method. The ochre beginning to bleed out into pools of varying tone and density. When dry I then worked over the pieces with black ink, creating greater depth and layers to the piece.


On later study and reflection of the pieces:
The marks applied via the pipette method seem to be more successful when applied in a  more fluid, organic, circular motion. The more angular marks, generated by an increased rigidity and broken application are less successful.

The circular, organic marks allow the eye to move around the piece in a spiral motion –  moving to the outer edges back to the inner recesses and depths of the piece. The angular, straighter marks act as broken sight lines, stunting the movement of the eye over the picture plane.

Due to the restraints or limitations of the process and technique – the difficulty in achieving long smooth continuous lines, and the seemingly unavoidable drips and blobs generated by the pipette – the angular, sharper approach to marks create an un-resolvable tension with the more organic drips and blobs. A tension not present through the more fluid application.

Studio Diary: 31/03


Experiments and studies through Jackson Pollock’s ‘pour’ paintings.

Having stumbled once again upon Jackson Pollock’s late ‘pour’ paintings whilst preparing an Art History lecture in which I will discuss his later – evolved style, I was immediately struck once again with their immediacy, rawness and fluidity of mark. Continue reading

Studio Diary: 22/02


The painting surface is a much more sparsely populated space with a more disciplined application of pigment. The tar-like black enamel paint (often applied using a turkey baster) pools onto, and bleeds into the un-primed canvas creating rich variations in texture and mark. Pollock’s wife, and fellow abstract painter Lee Krasner described these pieces as ‘painting with the immediacy of drawing… a new category’, a fitting analogy that closely captures the paintings direct and transient nature.
Painting with the immediacy of drawing: 15th March 2016

Painting with the immediacy of drawing:

There are some interesting elements arising from the continuous exploration and development of the ‘synthesis studies’:
Continue reading