Lately I have been copying myself a lot - this is the third version of the figure-in-bird. We moved into our house about three months ago and are living in the sitting room and kitchen while doing it up. So my current studio is the kitchen table. The reason I have a framed painting on the easel is because I am recycling an old painting I no longer liked. I do this a lot, which means I don't have much of an archive!
"Layering a vivid orange across an arsenic green, crouched under a line of cobalt, sends messages to the brain; and those messages can be communicated, however inadequately, in language.
...dark greens, particularly dappled with apple greens, and strong verticals may produce a feeling of security in a hominid species that emerged relatively recently from the protection of forests.
Hodgkins uses colour in ways that may be at times highly personal and autobiographical but are more often in a long tradition, fully alive today."
- from this piece by Andrew Marr on the artist Howard Hodgkin, essential reading for anyone interested in the visceral power of colour combinations and why they affect us in that way
P.S.: The Howard Hodgkin page on Artsy.net is a brilliant resource.
blue crochet bracelet
socks & reading
yellow moss-stitch wrist warmers
If anyone else feels stuck creatively, the prompts (and the quotes) in this book will get you back into the zone again (Thank you, Marie!) - for instance, "Draw for you", "Draw without restrictions", "Don't think, just draw", as well as more specific ones, such as "Create a list of words about water", "Fill these pages with birds in flight" and "Draw the inside of your house from the outside".
Or try Keri Smith's 100 ideas.
The above are part of the exhibition "Words and their Meanings", a project organised by the Academic Writing Centre at NUI Galway that explores the changing meaning of words (for more info, click here). I chose the word "purple".
From the description:
"Pulse" explores the changing meaning of the word purple in the context of the complexity of the human face. Skin reveals a lot of red underneath its top layer, but veins appear blue rather than red. Blue and red make up the colour purple. The human face is intriguing—its form and shape shift. The colouring is always in flux. Faces can turn crimson in anger or shame or from physical exhaustion. We still use the word purple at times to describe a face in such a state. So the different meanings are not as delineated as we might think, even if it may be odd to think of ‘purple blood’.
"Emergence" relates the change in meaning to the physical process of painting. Scratches in the thicker layers of purple paint reveal the red underneath; she plays with the idea of scratching away at time.
Purple was often used to describe blood. In painting, if a colour bleeds into another colour, pigment particles are carried by the flow of water beyond the mark of the brush. This process captured here represents the changes that the word has gone through, with purple bleeding into red and red bleeding into purple in the transparent parts of the painting.