Really interesting article explaining what artists do on residency schemes and their value.
Wednesday, August 3, 2011
Getting started with some more paintings. I am looking to explore the traditional methods of painting with oils.
By using Gum turpentine and Linseed stand oil, I will be able to make up varying strengths of my own mediums to work with - particularly useful when painting with thin glazes and exploiting the qualities of the paint.
For speed, it is possible to add a branded accelerator for speeding up the process, eg. Liquin which should allow a glaze to dry within 24 - 48 hours. Word of caution, it can also cause the paint surface to crack if used with thicker layers of paint.
The question is then, if I can speed up the process - Why bother going down the traditional route? With any additional there will be a change in the finished surface and luminosity of the paints.
Part of my philosophy for any artist, part of the finished work must incorporate the medium specific qualities eg. a sculpture working with stone needs to understand how the stone feels, works etc before a successful piece can be realised. This sounds obvious but how many pieces of work have you seen, and thought hmm maybe if he/she had used crayons / pastels / oils etc then it may have been stronger.