I am taking some time to build on these paintings of which there are around five. Oil on birch panels around 40 cm square each one. All have been in progress for some time, perhaps four months or more. I am working on each in turn at different times and being mindful to keep them out of sight whilst they are drying. This takes several days and gives me fresh eyes when I look at them again. I am unsure if it is helping but I am enjoying the process and the slow burn technique which allows for subtle changes to take place over long periods. I have been thinking about them as both internal and external aesthetically but also contextually. I think of the home and the subject of my essay and the links to the body as home, home of mental memory and physical memory, also the internalizing of memory physically and the tangible objects which externalize these thoughts and feelings. They make up a nonsense of objects which only make sense to their owner perhaps. This nonsense is present in the paint which is both deliberate and haphazard in the making.

Areas to investigate;

(Taken from essay feedback)

representation of domestic remembered spaces

Paintings, in literature, ? film … specifics of colour, or texture, or scale of image; and look at the kinds of details that are chosen, partly a formal enquiry, partly social or thematic.

Theoretical terms – memory, and its relation to material and objects and spaces, where again particular sensations, or responses are examined. This might connect to phenomenology, or to post-humanist, or to questions of agency.

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Tutorial notes:

Notes on tutorial

There is something changing /figurative

The work is grounded (grounded is a good word)

The clay is in a place of abstraction and the painting is more so now

Although the painting is inquisitive, is it a thing? Does it matter. It’s about the materials. There is a sense of unclear/clouded objects/space and this could be associated with the memory

Think about curation

The clay

Will I include the clay? This could be a question for next week’s crit? How can the curation/the white space affect how the paint and clay communicate, if they do at all?