SHAUN SPACE + Eleanor Moreton

Viewing in a Gallery

Reviewing the blog with James he suggested putting some of my work in the Shaun Space, away from the clutter of the studio. Definitely a worthwhile exercise as the work looks markedly different in a 'gallery space.' (See below)

Interesting to see the two images juxtaposed - both exploring spatial issues but in very different ways. I have now, on several occasions, explored a mononchrone and a 'colour' painting in tandem.This has proved beneficial in that one is thinking around differing issues so when a temporary 'block' appears concentrating on another work is definitely beneficial.

I questioned the artist, Eleanor Moreton, after her lecture, on this point and she said she often had 20 -30 different works on the go at any one time and there was definitely productive cross fertilisation was possible, even likely!

Ideally in a gallery setting these two works could do with more space between them.

Two loose monochrome/colour grid compositions

Observations 

• the applications of the Payne's Grey field colour by roller has give a lightness and subtle variation of density which helps 'activate' the field and add to the spatial tension
• right hand picture is, perhaps, overworked and works best without the two 'pink' semi translucent lines (which were the last to go on). Also works better in a portrait format (See blog 'Contrasts and Bands 11/03)

Space/colour exerise

• Textured ground and 'smooth' stripes  work well together
• Controlled colour more successful than earlier, less disciplined attempts   

Eleanor Moreton- Reflections

Her talk was very interesting to one struggling to develop their practice, I particularly liked the disciplined thinking which underpinned her work:

• Frequent use of earlier work of established historical painters (e.g C17 Dutch).
• Not necessary to 'like' the work but to engage with it in some way
• Developing a language which makes a contemporary statement about an earlier, recorded, situation
• Usually working across many paintings at anyone time (see also note above) -she noted how developing one painting might allow sudden insights into problems with another work
• Work also often making comment on current social situations - e.g. the vacuous existence of many bored rich women (Orange County)! Also nice send up of 'Collectors' - basically the people she/her gallery  are trying to sell to!
• some of her work employs several 'styles' within a composition e.g in figure work quite literal portraits are seen juxtaposed with much more stylised renditions
• Usually some sort of narrative behind the work, not necessarily fully explicit
• Much spatial ambiguity in the relationships of figures or even parts of figures on the canvas/card
• Believes in providing 'just enough information' so the viewer must engage and, therefore, contribute to the work.

If only there was access to more intelligent, articulate artists!!