Making Day 10th October 2015

Some quick words about my work: There is something about living around nature. Living on a small island can have its advantages to the artist and poet as nature is generous in providing us with all kind of wonders around. During my holidays I have often been to the beach and one of the important discoveries I realise now was to re-discover in a sense the structures of shells, corals and leftovers of the sea.I could feel that something could be built up and developed from there. I am fascinated how by simple observation, one can see hidden elements. As an object it holds its secrets and mysteries. I took as reference the artist Terry Winters as I am attracted by what he calls his "visualising system"; a system of recording different kind of information and he says "painting is so much about embodying information in a very direct and present way and re-arranging them or re-assembling them into reconstructions that might open up their meanings". I feel that I am investigating on a personal experience which is in parallel with my life experiences as I feel close to nature.

These are most recent drawings of what I have been doing:

 

Today I am experimenting on different texture gels as sand texture, modelling paste, phosphorescent gels, binders and gesso to understand these materials and find out about how I can use these materials later on:

After some more hours of work:

Updates..Painting sketches..loosing up..

Further experiments..

Visual Experiment Eight.

While focusing on patterns and forms, I kept thinking about existence; the ephemeral and erosion of shells and this deep sense of temporality. Though representational, there was something simultaneously abstract there as a subject. There is a tremendous diversity of forms within the shell structure in the micro/macro way that I would like to explore in a personal way. I would like to indulge in little pieces of information at a time as a feel there can be exciting development there.

New Shapes and Findings..

These were the objects that had been looked for-they have been found. This collection process is as important for I am now using the material that has become naturally available. There is something about these shapes and structures; they have been carved and crafted so expertly by nature and form part of the natural element. They are part of a cycle where even dead, they would soon be disintegrating to serve another purpose: they would return to the organic world. They are not disturbed by my intervention. While studying them, I feel myself being in an experiment; where I would be in harmony with the environment and the space where I live in. These objects were made for this space and this is also the space I belong to. They communicate to me and I seem to be reading them and understanding them in an abstract sort of way. I am reminded of the words of Henri Moore who later worked on materials directly:  A material had its own vitality, Moore believed, "an intense life of its own," and it was his job to reveal it. http://www.theartstory.org/artist-moore-henry.htm

The assimilation phase:some sketches as starting point.

After discussing my ideas with Angela, I felt an urgency to start on something. I found the ideas of converging sketches into paintings quite interesting (Terry Winters) as I would be starting on the basics of the structures that I wanted to work on.  There is something fascinating about structures of dead sea shells; there is  a symmetry there but also light asymmetrical elements. They are so delicate, intriguing and beautiful. There is something hidden that reveals itself on closer inspection: all you have to do is invest some time to find out what is there. I also like the idea of how things get connected in a visual way. While the hand gets busy with the sketches,the mind get busy in a strange way to find solutions to free everything from its source. This recording time is important; I think I will dwell on a little more on that. Ideas flash in my mind; however as I discover something else, these ideas soon modify and change. I want to go in with the flow right now.The mixing, the matching, the blending; the whole process/possibilities will have to come afterwards. I also feel that I am investigating on the experiences/observations that are presently happening in my life. Is there something filtering through in my work? As discussed I feel for the beauty of nature around me and though not directly; I have often found associations in my works. I should keep in mind to avoid literal interpretations. There is a strangeness in those complex shapes and structures that I would like to have people to react to; and also the issue about inside and outside;void and weight;perception and intuitive memory...

These sketches are quite small (about 6cms). It was good to start work to generate ideas. The first one was in ink however; I moved to coloured pencils as I needed colour and the impression of gentleness of what I was seeing. I feel I would soon have to shift to a reflection stage before starting to paint. There is something of a mystery about how the image can turn out while being constructed in paint which would be interesting to explore.  

100 words and images for the tutorial with AR

I am fascinated by the term "structure" at the moment; be it structure of any kind. However, I have a preference for the ecosystem with a definite liking for marine ecosystem and the coral reefs. The Blue Bay Marine Park is quite close to where I live and I have frequently been taking trips during the holidays on glass-bottom boats to admire the huge variety of dazzling and sometimes bizarre colours and patterns. This so fascinating I think I would like to start from there. I do not have a proper plan about what will happen next; however I also feel it is a good starting point.. 
Macro photographs of coral reefs:

http://www.wherecoolthingshappen.com/great-marco-shots-of-coral-reefs/