And Then There Were Two...

Following the previous entry, the latest painting to be brought to a conclusion features a different composition of the same subject matter and context, with but two of the collected 'Homepride Fred' figures rather than three and a slightly more  'measured'/geometrical approach applied to the representation of the patterned wallpaper and consideration of the placement of the objects in relation to (the figure to the left might be observed to be 'pinned' at the shoulders within the confines of an aspect of the pattern, for example), all being a bit more 'Uglowian' in conception, perhaps, which returns us to the original image to feature the Freds dating from almost two years ago.

Again, the active observation of the play of natural light upon the surface of the objects, those fleeting, momentary 'flashes' that enliven the whole set-up, describing aspects of their form and nature, is the motivating factor in engaging with such a challenge and the hoped-for result is a convincing pictorial representation of such, a record of the environmental activity, the time spent looking and painting.

'Two Freds and Retro Wallpaper'

oil on canvas/16 x 20"/March - April 2019

[detail]

[detail]

The finished painting on the easel, in position as observed and painted

During a little light workplace research, hoping to find suitable examples of wallpaper design that might provide grist to the creative mill and extend the project, it was something of a delight to find an example of a ‘Fred’ amongst the pages of a rather fine book:

Revisiting Old Friends

'Three Freds and Retro Wallpaper'

oil on canvas/16" x 20"/March 2019

Returning to previous-visited subject/object-matter in the form of the Homepride ‘Fred’ plastic figures (please see here), this time incorporating a third and more recently-acquired member of the team, its facial features more weather-worn and thus offering a more ambiguous expression than the other broadly-smiling pair.

The objects were actively observed as placed upon a horizontal shelf against a backdrop of boldly-patterned wallpaper of recent vintage referencing a Sixties-Seventies’ design trope.

The use of both the ‘Freds’ and the patterned ground are influenced by Euan Uglow, a frequent visitor to these parts, of course, encouraging a ‘measured’ approach to proceedings, in the interest of a convincing verité up to a certain point at the same time as an ‘all-over’ approach to the picture surface, with a degree of licence taken in the pursuit of creating a picture in its own right, the wallpaper offering the opportunity to represent a painterly equivalent to itself.

The light-reflective surfaces of the plastic figures, each subtly or a little more obviously different from the others, as ever present the opportunity of responding to and recording any fleeting moments as observed under the mercurial conditions of natural daylight, and engaging specifically with that Uglowian challenge of depicting (the appearance of) plastic, within the general concern of representing form.

[detail]

[detail]

[detail]

[detail]

The finished painting on the easel in front of the composition, as painted