Category Archives: Part 2 Material Properties

Part 3. Project 2. Research point.

The Abstract Expressionists’ use of gesture was caught up with notions of authenticity and even of purity of intent. The influential critic Clement Greenberg wrote in his article ‘Avant Garde and Kitsch’ in 1939 about the good artist painting cause’ and the bad artist painting ‘effect’. He also talks about what he describes as ‘the inflections of the personal’ becoming a legitimate subject. For example, the artist Jackson Pollock talked about wanting to paint from his emotions, not to illustrate them. What’s your response to these comments? (Course book p. 44)

Finding my passion and style is an active process – the more i engage with the process the more of it starts to appear. Bad -good irrelevant, it is all part of the process – an emotional response is finding its way into the work as I go along, this is what I am observing regarding my own way of working during the course. I am still torn between “demand from others to produce a “realistic” representation” and “finding my way of representing that same reality”. Looking at works that show you exact representation of reality are very easy to understand – “oh I get it! Oh how beautiful, just like the real thing!” – And while require great skill and technical mastery could be considered as “snapshots of reality” by the contemporary motion. While more abstract works are less understood by the general or unexposed public (purely standard observation) in my opinion can be a lot more engaging and become question makers -” what is this? What did artist try to say? Is it emotion or just blobs of paint over the canvass?” – I personally do not like all works in this manner but definitely find them thought provoking, mind stirring and mostly visually eye spinning experience. I feel the tension, emotion and sometimes energy of the artist still present in works that use more colour, gesture marks, innovative media application and juxtaposition of spaces.

I cannot claim to understand exact meaning in works by, for example, De Kooning, C Twombly, J Pollock etc. – but I cannot stop looking at the vortex of emotions that appear to jump out from the surface upon viewing.

Salvador Dali ( example of artist that i like very much) painted his inner vision/dreams/reality using meticulous techniques and precision while Pollock expressed his vision/emotion by engaging with the process and using whole body movement – in my opinion there is no real comparison, they are both great masters, innovators and important individuals in the art world. Both artists visualised their feeling but in a different way – one visually “easy” to read and another through material application.

Film by Hans Hamush: Jackson Pollock

I have seen this video and other documentaries about J. Pollock before, but it was great to revisit and watch him work and share his feelings as he works. He explains that working on larger canvas feels closer to being part of the painting, he can walk around and immerse himself in to the process (paraphrasing slightly) and i feel very similarly myself. As I’ve mentioned in the previous exercise – as I worked using elongated tools over a large drawing on the floor – it felt natural to walk over the surface and by leaving my imprints i felt connected to the work and the process. Gestural working method leads naturally toward exploring connection between “doing and feeling”. I think this is why, in my opinion, abstract expressionist works was so controversial and explosive in a way. It stirred emotions in the viewer, pushed new buttons and created questions about ways we perceive art, artists and the world as a whole.

Reflection on Tutor Feedback Assignment 2

We had a great conversation with my tutor – loads of positive feedback and pointers on what to improve. The main Assignment pieces are quite successful (blue poppies and the large black and white agapanthus drawing)  show investigation into use of materials, dog portrait has a lot of interesting gesture marks but may benefit by cropping – which i realized also and that is a good point. Overall i believe i’m on the right track with the experimentation, tuning in with materials and exploring the drawing as a whole.

Parallel project – ,i need to start on this as soon as possible but let the course direct me and help with the choice of subject. So far i have enjoyed using scaling up exercises and use of unusual materials  so it probably needs to go towards this. My tutor recommended to look through a few online libraries and a variety of artist in this field – so this will be the first step.

Part 2. Review against Assessment Criteria

  • Demonstration of technical and visual skills – Materials, techniques, observational skills, visual awareness, design and compositional skills

I am experimenting more with techniques and materials and combining them in order to find something else that will work with me in the future. The composition and design working well – i believe i started to used learned principles quite intuitively now and feel when something does not work as a whole. I need to continue improving on “looking” at the subject/object this will help with bonding and feeling the subject better in order to capture the essence. I’m acquiring more materials when possible in order to improve and continue with experimentation/application but believe that i am definitely tuning in with some of the chosen media.

  • Quality of Outcome-  Content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas.

I believe that i am combining together what I’ve learned so far and implementing it in a more experimental way than at the start. I am using my own opinion as well as researched materials to make a picture of a subject/artist/topic and putting it together in an improved manner. I feel that the quality needs improvement ( polishing the skills) but it is definitely on a right track to achieve a “finished” work.

  • Demonstration of creativity – Imagination, experimentation, invention, development of a personal voice.

I am exploring more and more ways to express myself and ideas through use of techniques and materials, it is different from what i thought at the start but i can feel my interests and voice opening up and becoming more visible in the resulted works and experiments.

Assignment 2

Make a drawing of a subject using the subject itself.


This was an exiting brief and allowed to explore a few new ways of using and applying materials.

I decided to stay along the lines of previous subjects ( plants) espetially as the garden is full of flowers and also i have a few dried specimens from lat year.

First i tried to use fresh flowers – while pretty to look at, when dipped in ink/paint the petals lost all the shape and mainly produced blobs rather than required shape on paper. Saying that, there is something intriguing about unexpected marks made using petals.

This example is an aqualigea flower dipped in white acrylic, sketchbook page was covered with dark blue paint previously ( page 15, A3) – some petals got stuck to the page , some of the shapes are still visible. Stems were used to make an impression as well as used as a drawing stick. I drew pencil lines into wet paint but found that they appear too harsh here.  The thing i like here is the contrast of uneven dark background and white of the flower drawing.

Next experiment ( A3 sketchbook, page 16 covered with gesso) – I wanted to see if the colour can be used as paint. Here I’ve used drying rose and  placed it on the page – the petals have fallen in a random pattern away from the stem itself. Using pencil i have marked the placement of petals firs an then lifted each one and rubbed in to the dry gesso, then the leaves and stem accordingly. Using the tip of the stem dipped in inks a some yellow was added and black outline as well.  What i learned here – being a few week already the colour remains relatively unchanged which is an interesting discovery. Perhaps if it was exposed to light this will change but gives an idea that i can use petals for colouring later on.

Slightly off topic but this painting gave me an idea of using water as driver – i used diluted acrilycs here to paint an imaginary blooms, the stick was used to draw the image but larger areas was appliyed using brush. i really liked how wet paint runs and creates drips and runs here. ( Canvass, 30×42 cm)

Assignnment2 Piece 1 – Blue Poppies

I used Poppy flowers, stems, dried sead heads for the next drawing on a 3/4 of the A1 sheet, cartridge paper, acrylic inks. The actual Poppie flowers were red but as i only have blue, yellow and white ink i decided to make them Blue poppies. I dipped 3 flowers in water and applyed it over the paper where i wanted the heads to be, then dragged stems down to mark the stems. There was quite a large amount of water on the paper and this exactly what i needed – next i added blue ink to the centers of these puddles using dry poppy seed pods and waited for the pigment to move. Stems dipped in yellow was used to add some colour below; Some pigment was moved using petals.  This technique of using water and pigment is not new and i have used it before – i find it fascinating, never know what will happen at the end exactly. Partially this technique is inspired by works of Barbara  Nichols ” Sedimentary Flow”. I have came across her work a few ears ago and have attended her exibition in the Walsall New Art Gallery last year

At the moment the piece is on A1 sheet but requires cropping, as below. Overall I think this is a good use of materials and qualities of media used, and is submitted as one of the assignment pieces.

 Cropped detail

Below is the whole A1 sheet , next to poppies is the drawing Using Chives flowers and stems.



Using similar method as above – dipped flower heads/stems in water to wet the paper, and then using thick acrylics to apply the colour. Here some paint was let to dilute and some was added over dry areas to explore the variations of textures. I like the combination of soft and hard edges as well as difference in paint thickness here – they look more like alliums rather than chives due to size and shape of the flower head.

Sketchbook A3, page 18 – Chives, here i kept the size as close to real as possible and only undiluted paint, magenta and grass green acrylics. Also i have used a hammer to bash the leaves on paper to get soft imprint for the background – i really like the combination of synthetic paint and natural pigment. This is  my favorite result using chives.

Getting Brave i decided to scale up and use an A1 sheet to depict Chives. I wanted to add some bachground to represent sky and air flowing through the flowers. The desicion to make this composition into a still life came spontaneously while working out background in the sketchbook ( Below, page 17, A3) – using a jar the circles were added , the idea was to have unrolled vie of the jar by dipping it in paint and rolling under the flowers.

Assignment2 piece 2 – Chives in a jar

Background: brush 2″ white, Ultr blue,magenta acrylic; water; chives

Jar: glass jar dipped in paint and the rolled over the paper to get edges and glass form

Flowers: Chives flowers – stems/leaves dipped in acrylics

Starting with the background the directional stiokes were used to add some movement and represend light/clouds/sky etc. Next I used glass jar and rolled it to get imprints of the edges and glass itself.

The flowers were added first and then using stems dipped in paint paint was applied to place them into the jar. The result  – while i enjoyed the overal process and getting really messy and covered in paint i have a mixed opinion here. I like the idea and actually was quite happy with the result to start with, but during next few days the doubt crept in – do the look like chives? do they have to look like chives? is there too much colour? perhaps i need to crop it? is this too representational? and so on …. Below is one of the ways this could be cropped to make it a bit more abstract…

Assignment2 Piece 3 – Agapanthus

Next week I decided to make another piece – going back to the original idea i had earlie during this part ( I’ve mentioned it in the project 2) and use Dried Agapanthus Flower/Seed heads. They are about 1m tall , with loads of spikes and seed pods. I decided to go with less colour – well with only black ink actually and try to achieve a more abstract linear image.

I thought of using just white as the background but decided that it would be too straight forward and then i looked around and re-discovered an earlier piece. This  (A1, black card, gesso, acrylics) piece was created earlied during project 3 – Narrative, where i was trying to create an imprint for a drawing of my dog.

I felt that this is exactly what it was made for – texure, overal shape of the gesso on black card, some colour ( blue) could be read as patches of sky and as reference to the Agapanthus flowers itself ( this ones were blue).

To start with I’ve used the flowers and placed them in different arrangemet over the surface – in my opinion using them as a bouquet did not really work with the background so individual placement works better. Also because they are linear ( marks) this work better as a contrast to the gesso print.

While douing the arrangement i noticed the shadow the stem throws on the surface – this was when the decision was made. Using one of the flowers ( all parts was used in the making the drawing) dipped in ink I drew over the shadows that were casted over the surface. To get a variation in shadows I directed a table lamp at an angle and the whole board (it was placed flat over a chair on wheels) was moved and turned around during the process.

 during the process

The Result : I’s been a week at least and i still think it worked here. Even my family had nice things to say about the idea and overal composition which is a bonus.

It could be viewed at this ange also – it just gets a bit more “hard to read” quality.

 on the side

Here it is on the wall above my PC – just reviewing before the submission day.



Overall this part was really challenging and made me realize more potential behind materials, ideas, working out and processes as well as directions that piece could take if allowed to become part of the process.

I think the Assignment pieces show the experimentation and exploration into use of materials and how they can be worked with. I am quite happy with the Agapanthus drawing and the way it came together; Poppies while may seem a simple method helped to discover spontaneity of pigment flow and that colour does not matter;

Perhaps i haven’t used my sketchbook as much – but i have used other surfaces for most of the experiments, so they are a bulky sketchbook on their own.

I have not figured out the Theme for the Critical Review and Parallel Project itself yet – as talked with tutor in part one, i am still thinking in the lines of abstraction, nature and human input, reuse/recycling and installation. At the moment i’m in the process of picking a starting point – i understand the earlier i start more time i will have, so this is the main agenda at the moment for me – get it moving.



Part 2. Contextual Focus point: Cornelia Parker

She is quite versatile and imaginative artists – i found it interesting that she uses repetition or continuation in her series. This helps to explore the subject/idea in a variety of ways and discover different angles of how the materials/place it relates to/ space and time etc. and creates a collaboration with the chosen topic through exploration.

I feel that she lets her intuition combine with the process, deriving what works as well as letting materials dictate the direction. Some of her works i found really intriguing and thought provoking – such as exploding shed that is suspended in the air and casts a shadow all around – the object works as what it ones was getting a new perspective and turning into a new entity that continues living by making the space around it change according to angle it is viewed upon.

 Cornelia Parker, ‘Cold Dark Matter: An Exploded View’ 1991 Cold Dark Matter: An Exploded View 1991 ; Image source:


The object is transformed into drawing but in space and not on paper. As she mentioned in conversation with Jack Southern (London, November 2010; “Drawing projects and exploration of the language of drawing” book by Mick Maslen and Jack Southern pages 54- 61) – “It is like it’s being true to the materials, which are also the subject. So I might suspend the charred remains of the church that has been struck by lightning, and it is not a drawing of the church that has been struck by lightning; it is the church that has been struck by lightning. ”

I feel that she is trying to capture the time in space when the matter occurred to the object; she also explores the materials by transforming them through melting and stretching into wire and then measuring distances  –  the wire is the line and becomes a drawing suspended in space and time.  She dissasembles elements and then places them next to each other capturing the in-between stage – this sometimes triggers viewers imagination to think “what else could have happened to this well known object?”. As an example her work “Embryo Firearms,1995” – where she used Colt 45 guns in the early stage of production, before they are assembled , but polished them to the way they appear at the end. They look like guns but they can not harm –   this work made me feel of people or things at the beginning of life, before we become what we are, before we have changed into “good or bad” entities.

What interested me in this video is how she captures the moment and finds what works – she took photographs of the prison wall and later combined it with the event ( escape) to name the series of this pictures.

There are quite a few videos about her and her working methods, i really enjoyed watching some of them, it helps to reveal the person behind the works.  For example,  great footage of how she created some of the works and her comments “What do artists do all day?”:


Research the work of Cornelia Parker.  Make notes in your own words in response to the following:

What do you think Parker is trying to do in her piece Poison and Antidote Drawing (2010) ?

The easiest answer would be – to see what will happen and what image she will see in it, as well as the other viewer. I found out that this type of drawing is derived from Rorschach blots test – which is a psychological test to reveal the inner self. So perhaps she wanted to figure out what she has hiding inside her mind.

Poison and Antidote Drawing is created using rattlesnake venom and black ink, anti-venom and white ink. Parker often uses bits of her subject to make her artwork. Why do you think she does this?

I think she is fascinated with the materials and what they can do, what they can become from what they ones were. The use of dangerous materials implies certain impact on the viewer at the start – so using poison will trigger worry and danger while antivenom can bring ease and reassurance in a way. The black-white can be read as oppositions, bad – good, madness – sanity etc..

British Museum website has an extract with Curator comments:

“Parker describes the process of making the drawings as follows: ‘In the ‘Poison’ and ‘Antidote’ drawings (nb ‘Antidote’ drawing 2000-5-20-11), which is a series of linked pairs, I began with the idea of different sorts of oppositional things. I was thinking of Hitler and Freud, for example, in terms of how they seem to personify contrasting parts of the psyche. I also wanted to make something physically dangerous. The idea of poison appealed to me when I thought of someone literally dropping dead on reading a ‘poisoned’ letter…Mixing snake venom and ink had a lot of resonance for me and using Rorschach blots was significant as I could not fully dictate the result. The drawings literally come from the material…I used Parker ‘Quink’ and this created a fluid substance which rendered soft, almost oriental shapes…The way I thought about the antidote drawing is that it should be molecular in form, rather like antibodies in the body. By dropping the mixture of anti-venom and correction fluid onto the paper the final form was, once again, beyond my control.’ Quotation from unidentified source (London Institute publication?),”

How do you think it feels to stand in the presence of artworks that are constructed from original objects of great cultural significance? How does that differ from, say, standing in front of a painting of the same object?

I think standing in front of the artwork that was made using the object itself adds another dimension to the story, we can imagine the history, experience the tactile qualities and volume of materials in space they occupy, walk around it and sometime through it, hence become part of the work itself, in some cases. The painting of the object would have mainly a representation or a “flat” image of the subject – this does not mean it will not have greater effect it is just a different experience – visually as well as space related. In painting the encounter rely on the artists ability to represent the materials while in the first example we experience the actual materials that object is made.




Part 2. Project 3: Narrative

Aim: Using materials and the way they are applied create a drawing that helps to read the piece/subject


The idea of this exercise/experiment is really fascinating and does imply a lot of possibilities and variations of interpreting the subject, however, implementation was a different matter for me. I’ve been thinking about this project a lot and had an array of possible ideas but as soon as the starting point came – i found myself throwing most of them into the drawer…. I was thinking of using items of clothes of my family members but haven’t managed to work out something that would really help to show the character . Perhaps one of the reasons is that i did not want them to “misunderstand” the piece or worse – do not capture their essence. I have one idea at the moment and if i can get the required ( thought of) materials i will attempt to implement it later on.

The personality i chose to portray is my dog – Lewis. I would say he collaborated by being a real character and a really smart but messy boy.)))

I understand this might be a bit unusual choice for depiction but i wanted to combine his playfulness/ messiness with the way he sometimes appear to really listen and understand.

I’ve used a sketch I’ve made a few month back- it was an idea for a painting – where he is wearing clothes and playing a role of an art critic ( just my imagination of course). This sketch i have covered over with a sheet of clear plastic – to use as a template for a print – then i have used different colour acrylic paints and brushes to apply a lose contour drawing, with a few added elements. Initially the paint was pure but i allowed it to mix by going from one colour to another – just as he likes to mix stuff up.


I need to explain the method of applying gesso here – very important part. We call him Jackson Pollock ( no offence of course, just a family joke) – because of the way he hmm-mm does a tinkle when he gets exited and runs in circles – the pattern created on the surface , really reminds us of abstract expressionist technique of drips and spatters. I’m trying to find a photo of his “masterpiece” and i’ll add it as soon i can locate it.

Anyway, using various tools  i have used mentioned above technique to apply gesso over black mount board/card ( A1) trying to leave space and get an uneven pattern.

This still wet drawing i then pressed over  wet white gesso  – the idea was to get a blurred up print or the contour drawing that then would be a starting point. Unfortunately – that’s what i thought at that point – the gesso turned out too powerful and “swallowed” up all the paint.

    1st               2nd

I did another drawing and reapplied it again but the result was the same as before. I did learn here – materials can really do their thing and it is great to learn new qualities, main thing is not to give up.

In-between applications I’ve used a sheet of cartridge paper to get secondary prints from the drawing, and it is this that worked out – just as Lewis can surprise us. Second  ( fourth) print over the paper unexpectedly revealed – get ready – image of Lewis !! Wow, i got really exited here – of course it might just be me who seen him there , or not ?)

  This is the print where i saw him.

I took this as follows – the black board was left to dry and will become the background for one of the Assignment pieces, or else.. I turned my attention to the “discovered” image on paper ( A1).

To keep the acsidental and spontaneous way this was going , just like Lewis runs on his walks and appears covered in mud with bramble sticks hanging off his ears, i used tools that were involved in the application and remaining paint to work out the drawing working relatively quickly and allowed the image come through itself.

The resulted textures here are a mix – the gesso started to dry in places a bit by this point as well as acrylic paint , and i feel like it worked well here. Some areas got mixed with gesso, some were just pushed over and scratched in – i believe this helps to imply the soft fur, muddy adventures he has in mind and the movement of air rushing buy. But also, his overall expression works as one of intended qualities to be captured/expressed here – he “thinks” a lot, what about i’m not sure – probably biscuits and long walks. ))))


Reflection: Personally , i like the piece – it makes me smile and i do see him in it, which in a way is the point here. The process had a combination of fun, frustration, discovery and definitely a learning curve for me.

Do i think it tells a story? – i would say one can be imagined upon viewing the piece. the application and materials played part during the process of working it out.

Overall, perhaps i did not use a large variation of incongruous materials – this is something to work out later and i’m sure there will come a point or feeling/understanding of what will work with what , but i definitely learned a different way of starting and working out an idea and potential of letting materials speak to you during the process.





Project 2: Mark-Making Materials

Aim: explore variety of tools, media and surfaces

Method: Build up a variety of surfaces using whatever comes to hand that has two differently coloured layers. Make several drawings by scratching through into the second layer. 

I’ve used what i had available at the moment :

Variety of supports  – paper, card, kitchen worktop/vinyl, wood, plaster board, aluminum

Mediums – acrylics, oil, watercolour, inks, bleach, pastels

Tools – cocktail sticks, plastic cards, pipettes, palette knives, knives, brushes, sticks, seed pods/dried flowers etc…

I was not very inspired to start with and it took me a few days to figure out how to approach this – so to start with I gathered the materials to have a variety of surfaces. I liked the idea of producing more finished drawings rather than patches of textures – this helps with the overall direction and idea during the application.

Some of the experiments:

  1. White Oil on Black Vinyl ( piece of kitchen worktop), 33 x 45 cm – Paint was applied as a layer using plastic card, then image of the bird  was scraped out using pallet knives – drawing from imagination definitely not easy but fun. While the bird is not ideal i found the combination of paint and shiny surface of the worktop work well together – the effect of water surface is achieved , especially when viewed from different angles.


2. Plaster board (White), oil pastels, acrylic paint ( B Um), Grey (Mix) mat emulsion, 27 x 57 cm – the surface of the board is paper so  in order to keep it more or less dry I’ve applied oil pastels ( randomly) over the surface first. Acrylic and emulsion was applied over the pastels in “geometric” pattern, it is not based on anything really but what i realized later is that the overall shape looks like my Assign. 1 drawing – some of it anyway.  I decided to let this dry before scraping away – this resulted in harder and narrower lines , which led to the end result being sort of a Cave or Child like drawing. Also some of the paper ( top layer of the plaster board) was damaged during scraping – it added to the texture combination – smooth paint next to fluffy/soft colourfull patches.



3. Tin Aluminum attached to a length of cladding, acrylic, emulsion ( 20 x 11 cm aluminum; 13 x 55 cm piece of cladding) – the aluminum is inside of the cut open can;

Top – subject is the line drawing from part one  – combination of dark paint next to reflective aluminum gives a bit of depth to a simple line here, not sure if the acrylic will stay on this surface for long.

Middle – emulsion on wood – just to use up the space – interesting how uneven surface of wood created wave like pattern.

Bottom – Emulsion on aluminum , subject is the iris from the garden, scraped out using wide pallet knife. Some of the paint dulled the shine of the metal but the combination of mat/reflective still works – this reminds me of the mirrors that have paintings on them.

4. MDF board , acrylic, ink,  drawing is 35 x 40 cm – using flat pallet knife Yellow acrylic paint was applied over unprepared board, then using a pallet knife an image of the tree/grass/poppy was scraped out. Because the surface is unsealed some of the paint got into the cracks this actually helpful for the bark effect. Them I used diluted ink and poured it over ( when paint has dried) – ink filled the gaps and toned the scratched marks/wood.


I think as an idea next time , if to use this approach, i would use ink with less water and pour it directly ( more or less) on the scraped areas, the rest of the surface could be wiped out to create  bigger contrast. Overall i quite like the result – it has potential and textures worked well here.

5. Sketchbook A3 page 13, acrylic, ink – subject is the mug used in previous exercise ( drawing is attached to the back of page 13) – the first layer / marks are made earlier (sometimes i wipe excess paint from a project to start off the page) – here they actually work as the background curtain lines. Using Yellow acrylic ( not sure why yellow , i think because it was sunny when the mug was drawn initially) i covered the page in quite a thick layer then using the drawing of a mug as a guideline  i moved/scraped/ pushed the paint around while wet.


Here i liked how thick paint is almost sculpted, thick impasto next to indented/wiped area creates interesting combination of texture/surfaces. Midway through the drying i poured diluted ink over the paper – i tried to be more specific here applying the ink over shadow ares but used a mister to disperse it slightly, I dabbed excess off using tissue.

I quite like the overall experiment and created result – perhaps some outlines could be added to sharpen some edges, but i think at the moment it replicates the halo of strong sunlight and dazzling effect in the eye. So this i will take forward and try to use in later works.


6. White acrylic over black, canvass , 23 x 31 cm – subject is dried Agapanthus flower/seed heads. While the paint was wet shapes were scraped oiut using a few tools – here the impression of the dried up stalk actually has a very good resemblance t the real ones.


Using same subject as above, I wanted to try and use bleach to reveal the under layer but for some reason did not manage to get the ink/watercolour  to work. I probably need to use different ink or less/more water – for now i just ended up with a few coloured papers, well the’ll get used later.

7. Acrylic Inks, water, bleach, scraping tools, brushes, tissues, A2 sheet of cartridge paper. – in a way this  drawing/painting is a supporting work for the Assignment 2. At the moment in time (spoiler alert ))) I’m planning to use dried up flower heads of Agapanthus, Alliums, poppies and my wire flowers from previous course etc… to make a drawing for the Assignment 2 , but this might change later of course as the experimentation progresses.

This is first time I have used Acrilyc inks – and what a delight – applied over wet paper they disperse in a magical explosion of blooms and patterns, jummy.

I wanted to see if bleach will work with this ink – but no it did not ( i guess i’m doing it wrong) – the colour did not really change much. What bleach did though – it pushed the pigment and water from one area to another , distressed the paper and helped to achieve a very nice grainy/ sediment texture.

While all this was wet i scraped, pushed/pulled, dragged, moved and manipulated the colours to draw the flower heads – the only big difference from real ones is that the stalks are straight rather than curly, but i like it this way it feel as if they are moving in the wind.

I also added more colour and bleach while working, and after it was dry used spray bottle to re-wet the areas; later on i added touches of white acrylic using pallet knife just to add a bit more texture and tonal contrast.

  with the frame ( paper) over

I understand this is probably not exactly scraping away drawing but rather scraping into – but i am pleased with the outcome.




Reflection : This was exploratory exercise but at the beginning not as inspiring as i thought. As i worked on it i started to realize the actual point of it and tuned in with the process. Looking back at the pieces i saw more that just scraped paint – the revealed surface added to the top layer it’s own quality. Texture of layers in combination brings new dimension to the area – shiny metal under mat emulsion, grain of canvass next to flat paint etc. Using tools to apply/scrape out paint while wet feels like sculpting which on it’s own is a very satisfactory process. So Overall I enjoyed the experience and learned a lot about relationship between materials used – they can play a huge role in how the surface affects the viewer along with marks and composition.