Here is a film from the Work/Work & Black Weekend launch party.
31 March 2011
30 March 2011
Remedial werk
[WEDNESDAY 30 MARCH 2011]
11.20am and I've not even made a move to go and paint. I am a bad bad boy.
I will make a cup of tea and migrate all my bits and pieces forthwith.
Everything in the studio is wet. I don't mean wet water, wet. I mean wet paint, wet. At least all the things I had considered working on today are.
Plan B. The pink "path of least resistance" returns from the temporary gallery in the house. I am satisfied with the glow, but the edges of the crack don't look concrete enough, and the crack itself looks more like a shallow hole than a deep void.
Time to tackle the crack then... It soon becomes evident that some demolition is in order. I take a deep breath and remove part of the rocky edge.
I will just need to cover it up now with darkness and glow. Next time...
After this minor, but successful, step. I find myself once again short of werk. Maybe it's time to finally take an old nemesis to task. I load up some reference photos and dig out 'Ne Travaillez Jamais' from behind a stack of canvases. I also prop the 'No/Yes' canvas on the easel, this will be my testing ground.
I make notes as I go, of each step of the painting process. Still have a lot to learn. But I conclude that the shadows I'd painted in on the main canvas are not necessary/pointless. I paint them out.
11.20am and I've not even made a move to go and paint. I am a bad bad boy.
I will make a cup of tea and migrate all my bits and pieces forthwith.
Everything in the studio is wet. I don't mean wet water, wet. I mean wet paint, wet. At least all the things I had considered working on today are.
Plan B. The pink "path of least resistance" returns from the temporary gallery in the house. I am satisfied with the glow, but the edges of the crack don't look concrete enough, and the crack itself looks more like a shallow hole than a deep void.
Time to tackle the crack then... It soon becomes evident that some demolition is in order. I take a deep breath and remove part of the rocky edge.
I will just need to cover it up now with darkness and glow. Next time...
After this minor, but successful, step. I find myself once again short of werk. Maybe it's time to finally take an old nemesis to task. I load up some reference photos and dig out 'Ne Travaillez Jamais' from behind a stack of canvases. I also prop the 'No/Yes' canvas on the easel, this will be my testing ground.
I make notes as I go, of each step of the painting process. Still have a lot to learn. But I conclude that the shadows I'd painted in on the main canvas are not necessary/pointless. I paint them out.
23 March 2011
many shades of red
[WEDNESDAY 23 MARCH 2011]
A glorious spring day. Which I choose to spend cooped up in a window-less space under the eaves.
9.30am - 1.00pm: I took on 'Home Sweet Home' working up the background in many shades of red, blending out to black. I also permitted myself a number of tea breaks to enjoy little moments of sunshine and fresh air.
In the afternoon I werk on my blue neon morse code message. And I werk and I werk.
A glorious spring day. Which I choose to spend cooped up in a window-less space under the eaves.
9.30am - 1.00pm: I took on 'Home Sweet Home' working up the background in many shades of red, blending out to black. I also permitted myself a number of tea breaks to enjoy little moments of sunshine and fresh air.
In the afternoon I werk on my blue neon morse code message. And I werk and I werk.
16 March 2011
The false start and the mistake
[WEDNESDAY 16 MARCH 2011]
I had a false start: loaded up the brush with blue paint, put it to the canvas, smeared the paint around a bit. It was too wet to work on. Get back in your corner Morse Code painting.
That's thrown me. All my plans for the day down the drain. I wanted to continue with the blue neon...
Hung on the wall beside me is a large square canvas with a depiction of Le Corbusier's Marseille Unite d'Habitation. I look at it for a long time, until I'm brave enough to start removing the masking fluid.
Big mistake. It's lost all its impact and definition. Bugger.
Maybe if I stick some white over it and run it off with white spirit? Nope. Again? No. More? Still not. I pick out the shadows with some dark oil paint, getting better, but a long long way to go...
I'm not sure how I'm going to rectify this, but I will find a way. I turn to the 'Home Sweet Home' canvas and paint around the letters with the first proper layer of glow - Cadmium Red and Permanent Geranium.
I had a false start: loaded up the brush with blue paint, put it to the canvas, smeared the paint around a bit. It was too wet to work on. Get back in your corner Morse Code painting.
That's thrown me. All my plans for the day down the drain. I wanted to continue with the blue neon...
Hung on the wall beside me is a large square canvas with a depiction of Le Corbusier's Marseille Unite d'Habitation. I look at it for a long time, until I'm brave enough to start removing the masking fluid.
Big mistake. It's lost all its impact and definition. Bugger.
Maybe if I stick some white over it and run it off with white spirit? Nope. Again? No. More? Still not. I pick out the shadows with some dark oil paint, getting better, but a long long way to go...
I'm not sure how I'm going to rectify this, but I will find a way. I turn to the 'Home Sweet Home' canvas and paint around the letters with the first proper layer of glow - Cadmium Red and Permanent Geranium.
10 March 2011
Work/Work Exhibition FINAL DAY = Friday 03 March
This Friday 3rd March is the FINAL DAY of the Work/Work exhibition.
The gallery is open 10am - 6pm.
Address: Lo & Behold gallery, 2b Swanfield Street, London, E2 7DS
nearest tube is Shoreditch High Street (overground).The grand removal takes place on Saturday. It will be a sad event, returning them all to their box.
Notes To Self: Stolen Time, March 2000 - August 2006
Notes To Self is an archival artwork made up of approximately 1,966 individual post-it note "artworks" created over a 6 year period, whilst in full-time employment.
The piece was first shown in Work/Work - a group research exhibition investigating how artists balance their creative work with paid jobs. The exhibition ran from the 3rd to the 11th of March 2011 at the Lo & Behold Gallery, Swanfield St, London, E2 7DS.
9 March 2011
The Return of the Wednesday Painter
[WEDNESDAY 09 MARCH 2011]
I have returned. Back after a couple of weeks off to deal with a huge archive of post-it notes. I need to get back to the easel pronto.
Clearly it has been a productive day. A productive day = no time for words, plenty of time painting. I will let the photo documentation do the talking.
I have returned. Back after a couple of weeks off to deal with a huge archive of post-it notes. I need to get back to the easel pronto.
Clearly it has been a productive day. A productive day = no time for words, plenty of time painting. I will let the photo documentation do the talking.
2 March 2011
Work/Work Exhibition opening night
Work / Work - a group research exhibition
Work/Work is a research exhibition exploring how artists manage the balance between creative work and bill-paying second jobs; the work/work balance.
Opening Night: Thursday 3rd March, 6pm - 9pmWork/Work is a research exhibition exploring how artists manage the balance between creative work and bill-paying second jobs; the work/work balance.
Lo & Behold Gallery, 2b Swanfield St, London, E2 7DS
Exhibition continues until Friday 11th March 2011
Opening times: 10am - 6pm
Exhibiting group
- Dominic Bradnum
- Pippa Koszerek
- Sam Curtis
- Olga Hoffman
- Sarah Matthews
- Exhibition by Avenir Projects.
opening night performances from
Drums of Death
(Greco-Roman)
Flora Yin-Wong
(Dazed Digital)
http://www.workworkexhibition.tumblr.com/
Installation of 1,966 post-it notes
I've spent the past 2 days at the gallery installing my piece Notes To Self: Stolen Time, March 2000 - August 2006. The piece is made up of approximately 1,966 post-it note “artworks” created during full-time employment over a 6-year period.
The installation process took about 19 hours in all, and is documented on the work/work exhibition blog, today I feel like one great big ACHE.
Half of me feels like a proud father. The other half feels like I've created a monster...
Thank you to those who helped with installation, you know who you are.
The installation process took about 19 hours in all, and is documented on the work/work exhibition blog, today I feel like one great big ACHE.
Half of me feels like a proud father. The other half feels like I've created a monster...
Thank you to those who helped with installation, you know who you are.
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