A Resurrection (2018) – Emma Tann
Acrylic on paper
[I found a god-damn awful unfinished painting hiding in a draw a few weeks ago… and this is it now. I rescued it, and am so pleased with how it turned out! Today’s lesson: never give up on a painting; there is usually some hope…]
Two studies – acrylic paint, 2016
I started this pair of paintings side by side, with the intention of mirroring, a sort of butterfly effect. I ended up spending much more time on the left-hand painting… to its detriment.
I much prefer the more minimalist left hand painting, which took only a few minutes, simple brush strokes, beautiful colours – the paint moved across the paper, bled, arranged itself serendipitously and left a lovely splodge.
How can a couple of minutes work look so much better than half an hour of laboured painting?! And will everyone else see the same as me?
That has always been The Big Question – when to stop painting? When have you over-worked an ruined a once delicate, understated, confident piece of work? How on earth do you know when to stop? I guess it all comes down to intuition. And experience. Practice (and plenty of frustrating mistakes, screwed up sketchbook pages. There’s no going back.)
Stop before you think you need to stop.
Cadmium II (2016)
Very much an experimental piece. Horizontal brush strokes, cross-based composition (I’ve been playing around this for a while), and of course beautiful white blank paper and the usual muted palette. The painting exists on the surface of the paper, the paper is part of the work, not simply a material for the paint to rest on, an after thought; the painting isn’t the object. There is a difference. I’m not certain that makes sense – must work on my articulation. Maybe another day.
Phthalo II (2016)
… a tiny smidge of green found it’s way into this one, which is most unusual. Slightly murky, smokey little painting.