Mosaic in place!

Well, we went to Dora's workshop and you can find photos of the wonderful event here: happy crowd, day-long industry, great food, anxieties about what it would look like before we grouted, the fun of messy grouting after exacting work on the tiles, elation at products. Thank you Dora, Marcus, Thor and Billie, for the privilege and delight.

I have my mosaic element of coffee table in place, glued to the table, the dark grout and the intensity of the colours mean that the painting will have to be strong and dark. I have sketched in something that may work, including with the light from the lighthouse on Point Perpendicular illuminating god. Integral Energy will be chuffed, I am sure.

can I do this with mosaic?

Helen and I go a mosaicing workshop with Dora http://madcowstudio.com/ tomorrow.

We may do pavers for Helen's garden, but I hanker to do something a bit different. I have another old coffee table to paint and want to try to put mosaic on PART only of the top.

In the charcoal sketch (on cardboard, sitting on the table) of Jervis Bay (see colour photo of actuality) God (female, naked, dark-skinned, recumbent in clouds over Governor Head) is reaching down (over Bowen Island) after the manner of the 'Creation of Adam' Sistine Chapel item.

God is saying to the dolphins "Hey beauties, they may give this place a funny name and argue over how to pronounce it but it really has no name: no labels, no control, just enjoy. As for that species on two legs, I give up on getting them to love each other, but I bet they'll fall in love with you if they can stop admiring their own shadows and look around."

And the dog says "Woof woof" and God says "Oh, someone throw the dog a bone. Yes, Dog, you are loved too."

This is only implausible as the title of a painting if you reject the notions [a] that it is actually a coffee table and [b] that God is a woman.

Please go with my absurdism: two visits to hospital this week, more next week, the absurd seems real.

back to table size

I had been trying to understand how to combine light and dark and also physiology and form in painting with acrylic, back mid year. There is an image here showing a photo from the internet and small charcoal drawing [A4] and washy attempt at rendering it with acrylic. I hung this up for some weeks as a lesson to myself, to study, repent, revise... but rather than revise the same - I was getting bored with the look of it anyway - I took this door (120cm x 78cm) back to rough white acrylic undercoat (interior house paint, the base of everything I do) and last Tuesday, while awaiting the arrival of my local Berry Writers' Group, I painted "Waiting for the Rain on Tuesday 6 October 2009". Violent rain and thunder and lightning arrived as I finished. Very pleased with the listless calm and preoccupation in the picture. You will see a slight Caribbean influence, I had been reading the web site of Nalo Hopkinson. It looks like my work will have one continuing factor, of being done very quickly. This may define media I use. There is a current preoccupation with the female form, the highest form of geography in my opinion. It is also a form that it seems one must paint, must acquire competence to paint, or nothing. Later maybe who knows what... but also sensuality will be a constant, I expect.

work above experiment in understanding light and dark and form

painted over as below

acrylic above,

charcoal on acrylic on 120cm x 78cm plywood

click image to enlarge, use the back button to return

small dark tabletop phase

I found myself with a curious little three legged phone table and another rectangular coffee table, which may have been a TV stand - in days when television sets were smaller - with a 'lazy susan' top, that swivels around.

The first become Violet, the "Loose Woman" [acrylic on wood]... who lent herself to a label for marmalade made from grapefruit given to us by two women with a remarkable sustainable property not far from here. The purpose of making marmalade is the design of labels (in case you were not aware of this).

The second one, the one that turns around, became a much more complex work, with many layers of charcoal and acrylic... "The hands that Turn the Table."

Rotate the computer to get the full picture here!

Many hands and handsfull, bent on turning the tables.

large, larger!

Picking up items from kerbside chuck-out.... And here I found myself with two tables. These presented challenge because of their sheer size, what to do... Here is the evolution of one table, into a painting called "Winter Dreamer". Took months... walking past daily, hiding it away and getting it out again, doing smaller items in between.