Working from the film stills, and translating the image into a painting I feel does not do the film justice, and the unique presence of the film work gets lost in the transition, therefore I am choosing to stop using the stills as a resource material. The film and still photos, are an individual piece of work, which needs to be accepted as individual items of artwork to be appreciated to the level it deserves. Working with the film has enabled me to learn a new specialism and apply new techniques. It has also widened my vision of art and its understanding.
Viewing film has informed my creative vision. After taking the close-up images of the collagraph prints and viewing the 'Rhombus' series by Gerhard Richter, I wanted to take this further. I have begun by reviewing my previous work, and examining them for interesting paint interactions and tonalities.
I learnt to appreciate tone and mark-making, this inspired me to look more carefully into my paintings and document the characteristics of paint. I have used the paintings produced in the development stages of the film, but also my portraiture work and made the work uniform through an examination into paint.
I wanted to explore more ranges of angles and colours. Viewing my work together I can now see the underlying theme co-joining my portraiture and film work, is colour and tonal variations. In producing a series of photographs observing the nature of paint, I can show how paintings can be more about paint, instead of the content of the image.
My exploration of formalism has further enhanced and convinced me that the medium can be and is sometimes more the subject than the actual subject.
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