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    Bogdan Prelipcean
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    Painting

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    © All Rights Reserved
    Download as PDF or read online from Scribd
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    9 views13 pages

    9 Ingredients

    Uploaded by

    Bogdan Prelipcean
    Painting

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 13
    9 INGREDIENTS: ONL SAO e DEPTH IN YOUR PROMI Stee ABOUT MY WORK There are many ways to create art. Some artists plan their work meticulously, some do a rough sketch as a guide, and others (like me) find their way in the dark, so to speak, surrendering to intuition, whilst in my case, intermittently reigning it in with principles of art-making. My paintings are a search; each layer prompts the next until | ‘find’ the painting. The layering of marks and the transparency and translucency of many of those layers leads to a visual depth that appears to go on for miles. My aim is to create a kind of emotional landscape. A place from which one can look beyond, through and into the distance. | have summarised here the most important elements of my process to give you an idea how | create and also, to give you a few tips on adapting your own process. Take what resonates with you, try things out, play, and take some risks! ] THE IMPORTANCE OF PLAY | never feel apprehensive about a blank canvas because | know that the lower layers are just the catalyst for the next layers. At this stage | allow myself total freedom to play, try out marks, decide | don’t like them, paint over them. It’s full-on unbridled expression. It MAY turn out that some of those early marks are just about visible in the final painting. But if not, it doesn’t matter. They have served their purpose even if they are not ultimately visible. They can even remain visible purely by virtue of their textural presence. This is the stage where you can really let go. DON'T FALL IN LOVE TOO SOON What you'll find amongst the creative explosion in your early layers is that sometimes really cool things happen! But there is a danger of falling in love too soon and having what is essentially a “thin” painting with a really cool bit in the corner. Or, worse still, carrying on but avoiding that pretty area which totally wrecks your ability to create a cohesive painting. One solution is to be brutal and appreciate the beautiful mark you've just made but realise that you can always do more beautiful marks at a later stage. But a less drastic option is to leave traces of your beautiful section beneath further transparent layers. Don’t let go entirely, but send these layers towards the back. You will create a sense of endless depth in your work 4 TOLERANCE OF ‘UGLY’ This is a studio psycho-drama that | battle with often. My paintings can look SO incredibly ugly mid-stage that | literally pull a face when | look at them and would be quite mortified if anyone walked in to the studio. Why are they ugly? Usually because of a lack of clarity and simply having an all-out mess on my canvas. It is part of my search for the painting and it’s imperative that | continually train my tolerance (and my ego) for this ‘ugly’ sight. Tidying it up too soon will be at the detriment of the ultimate finished painting. It’s like running to safety and saying “! know how to make this look good!” There's a risk of simply repeating myself and trying to recreate something that already exists. Many artists get cold feet at this vulnerable stage and paint over their painting to start again OR worse still, decide that they are inadequate and get really low about their prospects of success as an artist This is one of those moments where you train your mindset and your self-belief. And starting again will not help you to move past the ugly stage next time so try to avoid it if possible. Accept where you are and keep Whilst | do sometimes use a sketchbook to play around in, | don’t plan my paintings beforehand. If | have a wild idea about making a certain kind of mark, | experiment with it right on my painting! But | see it this way: the authenticity of the finished painting relies on leaving some evidence of the search. All the ‘mistakes’ are also part of the finished painting and part of the Process. EXPERIMENT RIGHT, ON THE CANVA He * Changed my mind? Part of the process. * Accidental splash of paint? Part of the process. * Last minute shift of colour palette? Part of the process. * Decide the painting might look better upside down? Part of the process. It’s alla part of me: my visual meanderings, questions, and experiments. | leave a trace of it all in the painting. 5 KEEP AN OPEN MIND Whilst | don’t plan my paintings, sometimes | can’t help but pre- empt the process in my mind and think something like “I bet this painting will be blue/grey...” Well, one particular (very large!) painting didn’t want to be blue/grey at all and it told me so by making itself a right pain in the **** for weeks on end. It didn’t feel right and | fought it for too long. reached for the fluorescent pink paint and the Eventually, | painting suddenly flowed to completion. Keep an open mind and be prepared to change course if your painting tells you TOR This is a collaboration between you and your medium, not you controlling it. There will come a point where something interesting starts to come through on your canvas. But it’s probably going to be surrounded by other interesting and not so interesting things. This is the moment to ask yourself “what's important? What do | love?”. Then (and this may be painful) you may have to clear some space and delete what you don’t need and what doesn’t serve your painting. You can’t say it all on one canvas, so start to prioritise. What is THIS painting about? What can | let go of? Where do | need some quiet space? Then, take a deep breath and delete. You may be pleasantly surprised that it was worth it! Suddenly you will have some clarity as well as an opaque contrast to the transparent layers. eno Ricuteic meted depth, is Scan eaee Nan Melon methods are glazes and transparent collage papers which | create myself, and which allow me. to layer patterns on top

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