This year I’ve worked harder compositionally and on being able to construct an image whilst thinking about mark making, instead of mark making for the sake of it, which is what I fell under last year. This was helped hugely by having a source material and running with it. This came at the very beginning of the year with a Slade degree catalogue from the summer, which went damp in my room, which stuck pages together. The pulling apart of it created intense rips, tears and abrasions which I new I wanted to try and bring into my work. I did that by with, sketching, painting these marks enlarging and highlighting pockets of interest to the point where I’ve created something completely unrecognizable and a new language or marks. Furthermore it was the process of extracting and magnifying which confirmed my excitement for using things for a use different to their usual purpose or showing and presenting things in a different light and not letting this go to waste. But also the idea of finding pleasure in finding pockets of surprise like a cracked pavement or torn billboards, things that have happened both naturally but only due to the introduction of the human presence in nature.
At the time this painting was the largest and most reductive in the volume of marks, which has been down to the process of extracting the desired marks and gestures. However those alone weren’t doing enough on there own on this scale. So through smaller studies and experiments I came up with a technique - an almost fake shadow effect on one, which I intentionally overlapped to bring a bit of confusion or disturbance in what is a very clean painting.