Ugh.. I'm not throwing in the towel on "After the Fire", but I'm giving up the idea of it being a print for the Grotto... I just can't get it to look the way I want it to.. But it does fit into my practice, so I do want to try to get it into shape (literally) without the pressure of the Grotto deadline. I was pleased over-all with my 'mark making' computationally, although getting basic results took way too much time. I think the time aspect is interesting, and I was pleased to hear William Kentridge talking about the benefit of slow art on our lecture. I definitely think having to work slowly allows the ideas to marinate, and for the picture to evolve and 'breath' naturally - I feel like being able to work too fast might 'freeze in' many of my initial ideas before they have time to be properly be considered.
"After the Fire" is basically plagued by composition issues that I am too inexperienced to fix. It's been too long since I've done landscapes, and I was probably a bit 'green' even when I did so regularly. After a lot of dicking around, I got to this:
Which isn't hideous but is definitely not worth £50. I have a fair idea how it could be improved, but actually I wanted to produce something very minimal and very organic, and I haven't achieved either, so I think I park this, and come back to it when I can start again from scratch...
Meanwhile, I was all set to get "This Homeland" ready to print when a slightly silly (in a lovely way) exchange on Insta with Catherine, followed by a fun conversation on Dead Critics WhatsApp, made me change my mind... I'm going to just stick my tongue firmly into my cheek and make something unashamedly commercial and a bit bawdy! I can make serious art when I'm dead... ;)
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