Discussion on Painting (1)
Although there is no restriction over how I may approach painting, there are a few specific styles I frequently use. The style I will discuss in this essay is my relationship with the application of paint, which is generally referring to how I create the images you see on the canvas. I refer to the creation of an image in terms of application because of the unique relationship between what I am thinking and expressing and the tool/object I use to bring my idea and expression to life.
It would be best to start this discussion touching on some points of my theory and ideas on tools and objects. I believe that all things have various identities and natures that create unique images and expression in and of themselves, and to different degrees when shared with the ideas of an artist or anyone interacting/performing with that object. These images, in and of themselves, will vary depending on how they are presented and brought to life. Meaning, the range will consist of as little altercation as possible, which is predominantly an image and expression directly from an object, like its fingerprint, or even more accurate, a general photograph of an object. To me, that is as hands-off as you can get, although you can have many styles of photography which will capture that object in unique expression, a general photograph can start out as an object’s portrait, a very closely related or identical recreation of that object’s identity and nature. The same goes for painting. You can try to have the most general expression of an object, as little altercation or technique added to its identity or used to capture and bring its identity to life. In my painting, that would usually consist of applying paint to an object or dipping an object in paint and then pressing it to canvas, allowing the object to dominate and predominantly create the image/expression. The other end of this range will consist of a very specific idea or technique used in conjunction with an object, so that the identity of that object is greatly influenced or captured and presented by the artist’s very specific idea or technique.
I range from presenting an object’s identity in paint, or any medium, with as little altercation as possible, as well as using very unique techniques that combine with an object’s identity for dynamic results. You could also say that the object alters my technique with dynamic results. It truly is a relationship of broad and specific balances. For example, I could take any surface of something, apply paint over it, press it to canvas, and pull it off, resulting in an image made by that surface. This is predominantly allowing the object control over the image. By default, I am working with its size and characteristics, but no major altercation by me except for the physical motor process involved, the applying paint and pressing. Now I could vary the intensity and pressure of the press once I make contact with the canvas, or how I press the surface once contact is made, sliding or twisting it, or how I remove the surface from the canvas, peeling, pulling, or dragging it off. These are some examples of the degree of interaction between the artist an an object, which is moving away from its default characteristics and creating more dynamic natures of expression.
Yes, I am using the object as a tool just like a paint brush. This is one of the main ideas, the unique identity any object has and creates when applied or used in such a way involving expression. This relationship can be performed on many levels with many variables, so that the object does not have to be the main medium creating the image or applying the paint. For example, It could be receiving the paint applied and acting as the canvas, like painting on garbage bags or cardboard or rubber tires, or it could be simply using different types of canvas, all of which combine to present an idea and expression, and all of which add and contribute its identity and nature to the idea and expression.
Christopher-
