watercolour & torn paper collage/30x20cm
This third recent example of images processed from the source material of photographs of local road surfaces & their ‘double black lines’ markings features a foray into the medium of watercolour.
There might appear to be a certain perverse irony in using watercolour – perhaps more often associated with luminosity & effects of atmospheric airiness – to create a dense ‘black’ (it’s actually Payne’s Grey) overall surface (seemingly something of a negation, as the double black painted lines are a corrective negation of the originally-applied double yellows: but then consider some of Cezanne's watercolours & the richness of the colours & tones created through repeated overlaid strokes to construct some of the forms therein), but the medium lends itself particularly well to a (quick-drying) layering technique composed of individual touches-marks from which it becomes possible to achieve such an explicitly built-up result, to be subsequently overlaid with further glazes of colour which themselves afford a representation of the numerous subtle colour inflections to be found upon/within such apparently monochrome subject matter as the road surface with its double black lines.
This latter aspect also allows one to recall a first-hand study of Ad Reinhardt’s ‘Abstract Painting’ of 1960-66 (as featured in an exhibition of Abstract Expressionist painting at Tate Liverpool in the earlier 90s), apparently essentially a black square upon initial approach & engagement with, but then gradually revealing itself & its design to be subtly composed of also the deepest red, blue & green.
Soundtrack:
Moon Wiring Club 'Striped Paint for the Last Post'
Hanne Hukkelberg 'Rykestrasse 68'
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