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Experiment

Updated: Sep 26, 2019

I started looking for a solution for my main work. I wondered how the space around the characters could be represented? At first, I tried to work on oil, but the result was sad. Boring texture of the same type, gestures of the same type and strokes, too. I added a spray - it turned out jellyfish; (I spent a lot of energy and emotion, and the result is bad). I still want to finalize the work because after drying I assume that the colour and tone can be diluted more on a scale, then the work should be juicier.

oil, sprays on canvas, 80 x 120 cm.




The second work, in my opinion, is simply a masterpiece)))) I watched a lot of Joan Mitchell and decided to try something new. The theme develops in dark spots with confidence and all work has turned out very balanced. Maybe I need to work on a large scale - then I do not go into the details and do not litter the work.


gouache, oil pastels on canvas coated with chalk and varnishes, 130 x 154,5 cm.



I also examined in detail the work of Albert Oehlen and Cy Twombly. How they work with the line, with the spot, how they are placed on the canvas, whether there is volume and how it appears.


Gemälde, Albert Oehlen [Painting] At: https://www.maxhetzler.com/artists/albert-oehlen (Accessed on 19.09.19)




Violent passion: Ferragosto V (1961) Cy Twombly [Painting] At: https://www.maxhetzler.com/artists/albert-oehlen (Accessed on 19.09.19)






And then back on Instagram, I came across several artists - I can’t say that they somehow attracted me, but some elements in the work interested me.



For example, here I was interested in working with volume and volume elements.

























And here I was wondering how colour spots interact in the composition and how they relate to each other.














Here we get a combination of 3D volume and texture and lines. In my opinion, this is the most difficult work.





















Just like this one: Albert Oehlen again


I love this painting!



In my case, at the time of work, I became too interested in the form and when I started to transfer elements to a larger size - they were all lost. This is not what I wanted, but I began to put tone on tone and colour on top of colour, which even with one material allows me to create more complex work.









I was so attracted by the idea of creating 3D space in an abstract composition that I tried a new program on iPad Procreate, I usually worked with SketchBook. I was looking for new brushes in the programs. An experiment led me to such a composition. I also created a small video because the very idea of moving work seems interesting to me both for display in the gallery and for home use. But the only question is that, according to surveys of all my friends and acquaintances, 100% are in favour of a physical object. In other words, from a consumer point of view, people are interested in investing in an object endowed with a physical body and not a file in a computer.

























Even these portraits, which I created looking for a solution for my last work, I realized that my friends did not understand how this work looks “live” until I made examples in the interior.



It is important to note here that I finally came to understand that art is created for people. Now for me the question arose of earning at my work. But, they were not interesting for the consumer. And for the gallery, I, as an artist, are not interested because they do not see the potential in the sales of my works. It is painful for me to realize that work can only be created for the purpose of sale. I always thought that a work of art should be created for art, and only then, if someone likes it, he can buy it. Unfortunately, good or bad, I officially include the idea of selling a painting in the process of creating it. And here again the questions arise: for example, I like to make projections on paintings so much, but this cannot be sold. I already faced with the problem that it is problematic for customers to buy or change lighting for my work with fluorescent paint.


The frustration and chaos in my head do not help to work, but in any case, I will begin a new, more detailed study in abstraction. I need to understand what exactly I like, or rather, I already know what I like, but I need to understand what I want to do and how it should look. Since creating copies of Albert is not interesting. This is his world and his work. I need to find my spots, strokes, lines, colours, sizes in an abstract work. And I want to combine portraits with abstraction, something like Jenny Saville…

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