ON NOW - New Works / Trudie Moore Exhibition

ON NOW – New Works

An exhibition of painting and installation

Join me for my solo exhibition of new works created during my residency at Gray’s Wharf in September and October 2020, and of key works from the last 12 months.

On show at Gray’s Wharf Gallery from Tuesday 13th – Sunday 18th October 2020

My 2020 solo show is an exploration of my abstract painting into installation, an amplification of the experience of colours, layers and planes of the painting surface into three dimensionality and enhances the vibrance, brilliance and clarity of colour.

With the aim of using my residency at Gray’s Wharf to push the boundaries of my practice, I have used the space to stretch out and expand in size and concept. Through use of the light and airy space awarded by Gray’s to me, I have been given mental space, time, physical space and opportunity for reflection and deep focus.

Together with the team at Gray’s Wharf, we would like to invite you to visit, experience and be surrounded by new works produced during the residency, along with a few other key pieces from the last year which have been produced exploring the same key themes of luminosity, material, process, composition, technique and colour.

My new paintings explore a range of painting surfaces including natural canvas, acrylic and wood, at times creating three dimensional installation pieces which bring close focus to the material of the paint and the canvas as being ‘as one’.

Through the exploration of the properties and abilities of paints to their most clear and luminescent ability, by using fluorescents, pastels and clean, pure colours, I aim to feel uplifted by the paintings and to share that energising impact of colour with the viewer. The paintings seem to glow and emit light bringing the colour to its highest light emission, in parts casting light out and off the canvas, bringing the focus on colour both into the painting plane itself yet also to its’ surroundings, and also showing the ability of paint with material (particularly in relation to pieces made from acrylic) to itself create light.

The ‘canvas’ both interacts with the paint as a layer itself, and provides the physical layer on which the paint can sit and perform to a great degree. By seeing surface textures through sheer veils of paint or heavy elevations in the paint application, we are reminded of the process of painting and the physicality.

By bringing the paint layers out from the ‘canvas’ we are able to experience two dimensions in a three dimensional way, in opposition to enclosing the three dimensions into a two dimensional illusion. We feel and we experience the energy that has been given by the artist to the piece through the process of painting which brings the painting into reality and this is reflected back at us.

Details for the exhibition and private view:

13 – 18 OCT 2020
TUE – FRI / 10 AM – 6PM
SAT / 10 AM – 5 PM
SUN / 11 AM – 4 PM

PRIVATE VIEW: THU 15 OCT / 5.30-9PM
BOOK HERE

Trudie Moore New Works ExhibitionTrudie Moore New Works Private View

Where to find the show

Grays Wharf
Commercial Road
Penryn
Cornwall
TR10 8AE

About my paintings

My paintings use fields of colour, transparencies and opacities that act as both a visual and an actual layer over one another, and which are layers upon the surface layer of the canvas.

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Update Gray's Wharf Residency 1st September - 12th October 2020

Latest plans for my Grey's Wharf Residency 1st September - 12th October 2020

This is an invitation to join me virtually in my art practise as I embark on a 6 week programme of scaling up and generating new paintings that break through the boundaries in my current work.

I’ll be occupying this beautiful studio at Grey’s Wharf on the river in Penryn undertaking an artists studio residency. I will be documenting the residency, my painting processes and development and creating a new, exhibitable body of paintings. I will be sharing my progress by streaming, blogging, taking video, and updating on my website and social media channels.

At the end of the event I will be creating an exhibition of the new work.

This is the first residency offered by Grey’s Wharf and I am very lucky to have been awarded this opportunity.

We aim to enable artists to develop their practice by providing a space to explore concepts, experiment with scale and materials, test ideas or take a new direction. We offer a supportive, professional creative community with 20 practitioners based in individual and shared studios as well as additional gallery and events spaces.

Through the residency I hope to:

  • Push the boundaries and take risks to advance my work.
  • Create a three dimensional experiential environment, amplifying the planes of colour (paintings as an installation to surround the viewer) with more 3 dimensional paintings that explore the use of different ‘canvas’ materials
  • Make work that literally pops out of the canvas, transitions out of the canvas and is on and off the walls, the canvas and other three dimensional pieces around the room.

The residency offers me space in which to both do some big paintings, and also to stand back to review, critique and judge them. As a part of the residency, I am lucky to be able to gain critical feedback from artist practitioner Naomi Frears who is not only a hugely successful professional visual artist, but also tutor at the St Ives School of Painting.

I have already been starting to work out what I need to order to achieve a project over the 6 week period. I’ve downloader an AR (Augmented Reality) app to help with planning for the space and to help me to visualise the end result I might achieve. This is a jump forwards in my process from simply jumping in to ‘doing’ from my head or from a quick sketch. I’m investigating the processes that interior designers use to show prospective designs to clients (and if you are an interior designer reading this, then please do get in touch with me if you are happy to share your tips!). I hope to be able to post visualisations prior to the finished work being created.

Having visited Grey’s Wharf Studios yesterday I now have canvases to order, suppliers to research, materials to test and decisions to make as to what the end result is going to be.

Get Involved!

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Naum Gabo at Tate St Ives 2020

Naum Gabo at Tate St Ives 2020

The Naum Gabo exhibit at Tate St Ives started in March this year and has been extended to run until this September. I went along in early March and here are my takeaway impressions and some photos of what you might expect if you have a chance to visit.

We are so lucky in Cornwall not just to have an amazing local wealth of creative and artistic talent locally, and an immense history of modern art in the area, but also to have facilities like Tate St Ives to visit ‘on a rainy day’, to stretch the mind, educate and inform us without even leaving the Duchy (County to you and me!).

When the Naum Gabo exhibition in St Ives started in early spring I went along with my (slightly short attention span and tantruming throughout the exhibit) son to take it in.

My visit was, as such, quite short and so will be the information in this blog as a result, but short turned out to be very sweet. I found this was an exhibition I could go to see, learn and enjoy immensely, because the work here is very fast to comprehend and enjoy. Even if you look at it in amazement for the sculptural skill, visual impact, mathematical precision and calculations, or, as I did, the complete surprise surrounding the manufacturing techniques available in the era, you can be impressed by the forethought and modernity of it that still makes it feel futuristic and timeless today.

 

His work combined geometric abstraction with a dynamic organization of form in small reliefs and constructions, monumental public sculpture and pioneering kinetic works that assimilated new materials such as nylon, wire, lucite and semi-transparent materials, glass and metal.

Two preoccupations, unique to Gabo, were his interest in representing negative space—”released from any closed volume” or mass—and time. He famously explored the former idea in his Linear Construction works (1942-1971)—used nylon filament to create voids or interior spaces as “concrete” as the elements of solid mass

Source: Tate/ Wikipedia

What I enjoyed about Naum Gabo: Constructions for Real Life.

The first extensive presentation of Naum Gabo’s sculptures, paintings, drawings and architectural designs to be held in the UK for over 30 years

Tate St Ives

I didn’t know that Naum Gabo had lived in Carbis Bay during WWII and been considered one of the St Ives Artists. This felt great to me as it drew a link for me between the location in which I now live. I have a pull towards the geometric visual style in my paintings, and the relationship of the three dimensionality in this sculptural work that resonates with the three dimensional direction I am currently taking in my own work. I could feel a connection with the sculptures and plans. I can feel the organic

I made a mental note to myself to look up: Hyperbolic parabaloid, tensegrity structure and history plastic manufacturing (although these days I’m researching more into plastics re-use)… and you might add to that Constructivism (and give that to your child to do as homework for the school holidays!).

I couldn’t believe how well some of the pieces have survived – the geometric acrylic sheet sculptures that have remained in immaculate condition are nearly 100 years old. You could be mistaken for thinking they were made in the 1970s, influenced by Star Wars or some other space odyssey, but in fact perhaps the reverse is true, perhaps films and architecture drew on the work of Naum Gabo as the innovator.

The precision of the hyperbolic paraboloids, the mathematical calculations that went into them and the precise execution of the pieces. The hyperbolic paraboloids make for beautiful sculptures which are perfectly hand tensioned, each string or wire having the same degree of tension.

 

For me this is a stunning exhibition, beautifully presented, amazingly well preserved and extremely educational and inspirational. If a 3 year old can lie on the floor having a tantrum because they don’t want to leave, that’s a good sign for taking older kids or the rest of your family along.


Trudie Moore abstract painting geometric 2018

Open Studios Cornwall 2020

Open Studios Cornwall is from 29th August to 6th September 2020.

Open Studios Cornwall is a coordinated Cornwall-wide event where artists from all over Cornwall open their studios at the same time, 

creating a county wide festival of art, design and craft.

More than 200 artists, designers and makers are taking part in the Open Studios, 30 of those are located at Krowji in Redruth and so if you plan to visit me in my studio there, you will be able to see an even bigger selection of the wealth of creative talent Cornwall has to offer all in one place.

I am aiming to create a gallery-level experience during this event, so whilst you might have been missing the pleasure of visiting exhibitions and galleries for contemporary art in the spring and summer this year, I will be bringing a feeling of this to you through my plans for an integration of in person, virtual (videos & documentation) and connecting with me live through a stream of me at work.

Visit Trudie Moore’s artist studio in August and September

Because we have had a little longer to prepare for the new dates of this event, I have come up with more of an experiential format for the event incorporating exhibition, private views and appointments, online (virtual) videos, a documentation experience streamed from my live residency and, of course, the usual drop-in format.

On show at my studio at Krowji, Redruth –

Gallery style exhibition, private appointments, drop-ins at the main event and a live stream to my residency.

Open studios are a brilliant way for you to see my work, my art is meant to be enjoyed by the natural eye for the greatest benefit of the colour, scale, textures, lines, edges, transparencies, surfaces. You can’t get a good enough impression of my paintings from an online image as it’s very hard to convey the experience (one of the reasons I have started doing talk-through videos on IGTV – Instagram TV, so show and describe the work). So coming to see me in person in the studio where you can come simply to chat and find out more will offer so much more.

I will be showing a selection of recent and older work, and I will have pieces for sale to take away with you.

Come and have a chat with me about my work, how I work, what my work is about, buy a painting or even give me critical analysis! I have loads to talk about, The Christmas Open Studios at Krowji delivered some really deep and insightful conversations that were enjoyed immensely on both sides.

A virtual window into the creation of my newest work – streaming from my residency 1st-4th September

I will be working from a residency in Penryn on the weekdays of Open Studios and so I am working to create an online journal/ diary of me at work on my new project. The residency commences on 1st September and runs until 12th October and so you will see me via a stream, blog, video and IGTV in the studio there between 1st to 4th September and be able to chat to me on 5th and 6th about it, and my ambitions for the future in person at Krowji (Studio 108c!).

This will be an additional experience to visiting me in Krowji as my space in Krowji is small it doesn’t allow room both for showing work in progress as well as visitors and exhibition/ viewing and so by making my big residency project available by documenting it online, not only will you be able to share in the experience of this online documentation (and I will be collecting the documentation by way of a critical aspect of my work) but you will also be able to get an insight into the future of my work, it’s direction and the ambition and scale I have for it. I will be aiming to set up a screen in my studio to show me at work at the times I’m not present at Krowji.

If you are still in Cornwall, or back in Cornwall in mid October 2020 I am hoping to hold a Private View of the new work. To be invited to this please request to sign up to my email list here.

 

Collect website orders from me in person

If there is a piece you would like to buy in advance of the event, you can buy it through the website and collect it at Open Studios either when I am there, or by appointment. The website has a PayPal payment gateway and takes all mainstream card payments. If there is something you wish to reserve and pay by bank transfer or cash, please get in touch with me.

Seen something you like that’s not in the shop?

If there is a piece of my work you have seen online either through my website, social media or through my old blog or old website, I can bring it to Open Studios for viewing. My back catalogue is in storage and not everything has been photographed, so if there is something you like and want to know if I have more of, I can email through images.

Like something but it’s the wrong size, colour or you have an idea for a variation or a specific place?

Likewise if you would like to discuss a commission or a project, I can compile examples for discussion and meet you to show you more!  Here is some further information on Commissions and projects and an outline on what you can achieve by commissioning an artist.

 

Visiting Open Studios Cornwall 2020

 

How I will be opening my studio to visitors for Open Studios Cornwall

Because the dates for Open Studios moved back from May to August, the dates now run at the same time as my residency at Grey’s Wharf in Penryn.  Here is how I will be opening up my studio:

  • I will be opening physically over the two weekends of Open Studios Cornwall in my studio at Krowji and so I will be present to welcome visitors into my space.
  • My space will be open when there are other artists present in my space as a gallery exhibit. I am hoping to be able to show the video/ my blog on some manner within my space and there will be contact cards to make an appointment to see me and there will be pieces hanging in the hallway to look at.
  • I will be opening virtually in two ways:
    • By updating my blog from my residency to show the progress I am making on the residency and by posting on Facebook and Instagram
    • By creating a video tour that will be uploaded to You Tube
  • By taking bookings to meet you at Krowji for an appointment

Drop in and Visit me at Krowji on 29th & 30th August 2020

Opening hours for weekend visits: 11am – 5pm Saturday and Sunday

I will be in the studio for the normal opening on the weekend days for chats, sales and information.

Make an appointment with me for a studio visit during Open Studios 2020 on weekdays

Available Hours: 9am – 8pm Monday to Friday

I will be taking bookings to show you my studio in person during the week. If you can’t visit me on the weekends, if you are an architect or an interior designer looking to source artwork or discussion during working hours, or if you are worried that the studios will be too busy, I can offer you a quieter visit to see my work when the doors to my studio space are closed.

I will be uploading a booking system to my website soon, in the meantime, Make an appointment with me by using my website contact form here.

Protocol for visiting my studio and Krowji

My space is small and I am hoping to rent a bigger room for the duration to allow for social distancing. But whatever the space available, there will be measures in place that visitors will need to adhere to to allow for a relaxed and safe environment.

  • Face masks will be a requirement to studio entry, I will be wearing a mask and I will ask that you do too
  • Hand sanitisers will be provided on entry to the building, and on entry to my studio room
  • As my space is small, I’ll only be able to welcome one person/ one ‘family unit’ / couple at a time
  • There will be a marked trail and marked waiting areas on the floor to create a comfortable flow and good spacing
  • The studios will have increased cleaning during the event and I will clean the space between visitors

Where to find my studio

I am usually in studio 108c but for the duration of Open Studios, to exhibit my work and allow for social distancing, you’ll find me in studio 220 on the 2nd floor of the Percy Williams building, just upstairs from my usual space.

Address Studio 108c, Percy Williams Building, Krowji, West Park

Town Redruth

Postcode TR15 3AJ

Directions

From A30 take main Redruth exit and follow A3047 towards Pool/Camborne.æ Pass Redruth School on left, after about 200m, turn left into West Park just before the large roundabout.æ Limited parking available on site.

Facilities:   Disabled access, toilets, disabled toilets, cafe

Open Studios artist listing for Trudie Moore

Trudie Moore’s contemporary abstract paintings explore control and restraint in the painting process. These paintings have luminous fields of colour, transparencies and opacities that act as both a visual and an actual layer over one another, and which are layers upon the surface layer of the canvas. Paintings are priced from £45–2,000.

Sign up to emails to stay informed

Sign up to emails to be informed about open studios and my residency

Book an appointment for Open Studios Cornwall 2020

Please use the form below to request a private appointment between 30th August to 6th September.

Your Name (required)

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Your Message


Artist Support Pledge new additions July 2020

#ArtistSupportPledge, latest additions!

Here are my latest additions to the Artist Support Pledge. I have looked back into my archive for these abstract, more expressionist paintings, which represent a different phase of my art practice.

These are all smaller pieces, they explore different themes of tension in the paint and the colour, process-led paint application, and the contrast between control and a sense of freedom in the approach to making a painting. The paint is applied in layers, sometimes the layers bleed into one another and the paint reacts.

These paintings date from around 2003-2010, before the current trend for pour paintings has emerged on Instagram. The process paintings they derive from were influenced heavily by artists such as Ian Davenport, Fiona Rae and Damien Hirst’s spin paintings, all from the 1990s. They were painted on the floor flat to enable the paint behaviour to be influential in the outcome of the painting.

Each one of these paintings is household gloss paint on canvas, mostly in bespoke colours. They are on either bespoke gallery standard canvases or more lightweight frames. The price of each painting reflects the canvas grade.

 

BUY ARTIST SUPPORT PLEDGE PIECES

I’m taking part in the Artist Support Pledge initiative, can you help to support me so that I can support another artist?

ARTIST SUPPORT PLEDGE

 

Due to the COVID-19 pandemic, many artists have found themselves without work, teaching, technical support and gallery work. Exhibitions and sales have disappeared. In an attempt to help alleviate some of this stress I have instigated the ARTIST SUPPORT PLEDGE #artistsupportpledge

 

The concept is a simple one. Artists post images of their work, on Instagram which they are willing to sell for no more than £200 each (not including shipping). Anyone can buy the work. Every time an artist reaches £1000 of sales, they pledge to spend £200 on another artist/s work

.
To make a pledge, post your work with the #artistsupportpledge and follow the # to see everyone else’s work. Keep updated on new opportunities and announcements @artistsupportpledge Repost and tell your friends, colleagues and collectors. Let generosity be infectious.

 

#supportartists #covid19 #coronavirus #livegenerously

Below are the first items I have tagged for this pledge, there will be more to follow soon including some of my process painting pieces, bigger gloss paintings on canvas and some diptychs. My website supports PayPal payments which can be made through PayPal or by card. I will post pieces within 24 hours of sale.

I am continuing to add pieces to the shop, please come back later and check what’s new!

SUPPORT AN ARTIST THROUGH THE COVID-19 PANDEMIC


Latest painting, May 2020 - Untitled

Untitled – [Red stripe with white and pale yellow pastel layers].

I have just completed this painting, it went on hold during lockdown and so the latest layers went on this week.

I have been trying to articulate how some of the transparencies I created on the ply box would translate onto canvas variations. The canvases I order are primed with a white primer, I don’t use rabbit skin glue because I refuse to be involved in animal cruelty as a consumer. So until I find an alternative, this gives me some limitations on how I use the paint when I translate it to canvas. There needs to be an addition of a colour to give the white transparencies something to show up against. The layers in this painting are extremely delicate and hard to photograph to show correctly and the studio lighting is overhead so that makes this task harder.

Hence I have chosen a pastel yellow made from combining fluorescent yellow and white. It’s become an essential part of the painting, not just a layer to form the underlying structure, but also a divider between two layers of ‘leaves’ of transparencies.

There is a rhythm througb the layers from canvas to the upper layers, a sequencing. The layers move outwards / forwards from the base canvas layer through pastel yellow, then white then yellow, they are intersected by the almost three dimensional red line (which itself wraps around the canvas and onto the sides) and the layering of white continues on top of this to seal it in.

If this were expanded out three dimensionally as panels they would be delicate, soft sheets. You could imagine walking through hanging layers or planes of space.

Around the edge to the top right there is a red triangle ‘tag’ device that would link this painting to the next, it’s a feature that has come from the previous studies on ply and the box where the elements of the paintings touch together.

All images © Trudie Moore

© Trudie Moore 2020
Current themes: transparencies, opacities, paint edges, material performance, three dimensional planes, lightness and freshness of colour, purity and expansion to create space.

Trudie Moore 2020

Transparencies and subtleties in my latest painting.

I’m in the process of developing a bigger, three dimensional body of work that expands planes and dimensions within my paintings. Materials are important to me, as much as colour and so I am investigating how the two work together to ensure the surface has an importance in the piece.

A piece I completed around Christmas starts to move into a much more three dimensional space. I enjoy working with materials that have a character of their own which brings a deeper concentration to the planes within the work. Ply has proved to be not just an appealing material with the natural wood grain contrasting with the plasticity and synthetic surface and colour of the paint, but it’s also a good, resistant and smooth surface that gives clean edges and sharp lines and a smoother surface to the paint.

So this has opened up for me various avenues I am exploring, how ideas translate both onto canvas and ply (and other potential materials) and how the elements within the paint itself work with the surface.

In terms of the paint application, there’s an ability with acrylic to create super sheer, delicate layers that can increase and increase in density and be built up to an almost plastic layer which sits elevated on the surface

Untitled [Three dimensional box in ply] .

Amplifying the surface more extremely is an experiment I have been making. My deep frame canvases haven’t been deep enough to carry out the ideas I have been trying over the years and so this three dimensional box is the substantial iteration of that. From the smaller preceding ply studies there were planes of colour that were moving across. This is the next step on where the elements go around the sides and over the top – an element of wrapping the object as well as unfolding around it.

There is a stage on from this of exploring both ‘the material of the canvas’ and ‘the material of the paint’ as separate yet combined elements which constitute the painting.

 

All images © Trudie Moore

Supporting studies .

The studies below experiment with concepts in the pieces above, some are tests, some are works in their own right.

Alongside my fine art practice I undertake commissions and sell existing work. You can find out more here, or learn about the Artist Support Pledge.

Commissions

Gray's Wharf Residency September - October 2020

My big news for 2020

I’m delighted to announce that In September 2020  I’ll be taking up a fabulous opportunity for a Residency at Gray’s Wharf Studios in Penryn, Falmouth.

For 6 weeks I’ll be occupying this beautiful studio on the river with support from Naomi Frears.

There is so much development and progression I think it’s going to bring to me and I’m really looking forward to in depth discussion around my work and practice and the opportunity to advance.

 

We aim to enable artists to develop their practice by providing a space to explore concepts, experiment with scale and materials, test ideas or take a new direction. We offer a supportive, professional creative community with 20 practitioners based in individual and shared studios as well as additional gallery and events spaces.

 

I’ll post more through the website about my aspirations and plans for this,  but for now, it’s still sinking in (and I have some planning to do!)

 


Artist Support Pledge

#ArtistSupportPledge, support an artist!

I’m taking part in the Artist Support Pledge initiative, can you help to support me so that I can support another artist?

ARTIST SUPPORT PLEDGE

 

Due to the COVID-19 pandemic, many artists have found themselves without work, teaching, technical support and gallery work. Exhibitions and sales have disappeared. In an attempt to help alleviate some of this stress I have instigated the ARTIST SUPPORT PLEDGE #artistsupportpledge

 

The concept is a simple one. Artists post images of their work, on Instagram which they are willing to sell for no more than £200 each (not including shipping). Anyone can buy the work. Every time an artist reaches £1000 of sales, they pledge to spend £200 on another artist/s work

.
To make a pledge, post your work with the #artistsupportpledge and follow the # to see everyone else’s work. Keep updated on new opportunities and announcements @artistsupportpledge Repost and tell your friends, colleagues and collectors. Let generosity be infectious.

 

#supportartists #covid19 #coronavirus #livegenerously

Below are the first items I have tagged for this pledge, there will be more to follow soon including some of my process painting pieces, bigger gloss paintings on canvas and some diptychs. My website supports PayPal payments which can be made through PayPal or by card. I will post pieces within 24 hours of sale.

BUY ARTIST SUPPORT PLEDGE PIECES

I have tagged the first items under the pledge in my shop and there will be more added soon

SUPPORT AN ARTIST THROUGH THE COVID-19 PANDEMIC


POP TO THE SHOP!

Christmas baubles now on sale!

Discover my range of artist edition baubles now on sale in my shop!

To mark Christmas 2019 I’ve launched a range of individually painted artist edition baubles. There are 50 individual hand painted baubles numbered and initialled from 1-50.

Here’s a sample of some of them

Brighten things up this year and add a little pop of colour to your Christmas tree with a unique piece of art.  Create a neon and pastel theme or add a hint of bright, white and fresh colour and make your tree a colourful and contemporary work of art.

The first batch is now online!  Each one is ceramic painted with artists acrylic paint in a range of fluorescent and pastel tones, transparencies and opaque panels to mirror my latest works.

The Christmas baubles are tied with neon yellow elastic cord and packaged in a white gift box.

Delivered in time to give as a Christmas present or to decorate your own Christmas tree.

POP TO THE SHOP!


Scaling up and expanding

Sometimes working on multiple small paintings at once leads to results that require a little expansion - to further explore something to see how it might work if the areas and proportions changed.

I've always enjoyed large scale paintings, my work generally lends itself to a more ambitious scale rather than being confined into smaller dimensions, but smaller works do help to create a volume of ideas and exploration.

This is how a few of my recent big canvases started out. I scaled this smaller piece up to a really big painting as I could see the capacity it had that would lend itself to a bigger expanse.

The detail of the ‘balance’ (the linking of elements), the semi-opaque white as a leading element to this piece, are favourite points for me.

I had to scale the piece from rectangular portrait dimensions to square and devise how the colours would work on a white primed canvas when the background wasn’t a neutral base of ply.

With painting onto the white primer there’s a need to cover the whole surface, unlike with the ply, which means all of the painted shapes become more as one, rather than benefiting from the natural way the ply becomes visually, and tangibly another plane.

With the ply it’s more obvious that the surface is separate and the paint sits on top of it. With a canvas this is less so the case. And then there’s an element of illusion in the two dimensional effect as well where just by adding a painted colour, it changes the planes.

 

Yellow and white abstract.

This painting is another large scale translation onto square canvas from one of the smaller studies on ply that I did.

The asymmetric composition and diagonal lines with linked elements are where I feel the flow with this, as well as the introduction on this larger piece of the red triangle 🔺 contrasting with the subtle green and white, yet linking across to the fluorescent yellow.

As with the other large painting that evolved this way, there were changed and adaptations I made to transfer to a white background (primes canvas) and the larger, square format.

Now having lived with it for some while, and having progressed other pieces I’m eager to add something, another element, that was never a part of the plan when I started.

So you could say that this piece has taken almost 2 years to do!