This was the first opportunity I have had to exhibit so much work together in one space and I have to admit I wasn’t sure how this was going to work. How would I get the timing right ? Would I get them finished in time for the framing ? How am I going to work on so many large pieces when I only have a studio space that allows me to work on 3 large at once ?

This was a joint show at Turua Gallery with sculptor, John Allen

I didn’t know John but Liss at Turua suggested we do a joint show as our work had often been paired well together and we seemed to have parallels in how we approach our work. After chatting to John I found out that like me, he doesn’t have a plan of the finished artwork in mind and that it instead comes into being through process.

My process

The date for the show was set for the end of July. I began working on paintings for the show back in February and for the first time developed a timetable, a working plan . I decided to work in groups of a certain size for 2 weeks then, though they weren’t finished I would move onto the next group for the following 2 weeks.

I did this, writing it all down in my notebook . I drew the shapes of the different canvases I’d ordered and gave each a number .

As I worked on the three sets in rotation I noticed that one painting would be far stronger than the others but this would change. I usually began my day’s painting by starting on the least advanced painting , because it was here that I could take risks and make big changes. While doing this I would sometimes make discoveries about how to use the paint or a tool in a certain way that I could try out in another painting.

Though I worked on a set of 6 over the two weeks I wouldn’t paint on more than one at the same time .

I wanted to give each painting my full attention and for it to develop through a unique process.

As I began a new set of canvases this idea of each painting developing in its own unique way became more important to me and so I intentionally began each one in disparate ways. Some I would begin by colour blocking in saturated brights , Some by dry brushing light over dark, by applying with huge gestural marks, by scrubbing with cloth. I wanted each painting to have its own story.

Finishing

As I worked steadily on these paintings, certain ones would suddenly leap forward and I’d see they were finished . I put them to one side and at times would view them out of the messy studio to make sure I was satisfied.

Every painting for the show had to be professionally framed and because I was ordering so many I got them delivered to the house. I still remember first seeing them and the excitement that they’d suddenly they became like objects separate from myself.

For the first time , all the paintings were professionally photographed and I went along with my paintings for a few hours . I saw each painting get set up and be photographed and was amazed at the care and attention to detail which was given to making sure that the colours in the artwork matched exactly what was on the screen.

The show

The day before the opening I found out that paintings had sold in the preview which was exciting because I could walk into the show and see red dots on the walls which made me less nervous about the opening evening.

In the end I had 16 large paintings on the walls . Seeing the paintings that I’d been working away on for months in my studio up on a clean gallery wall , framed, with good lighting was an amazing feeling. I could view them with more distance and as I walked around the gallery I was pleased that they looked like they were produced together but I also had a range which was my intention.

There were paintings with fast bright energetic colour and then softer, lighter more calming ones , kind of like how musicians create variety in an album I think.

Doing this has definitely increased my confidence and given me ideas about what I want to do next.

You can see all my paintings from this show

For more photographs please take a look at the Arts Diary website