Procrastinations of a working man

 

Some interesting developments over the last couple of days, firstly I am now definitely going part time with my current job, I'm only dropping one working day but it is a start, after all canal locks produce big changes slowly.

 

Disjointedly moving on, a technical point now - which is probably pretty obvious is that I have discovered - via a mixture of curiously, research, and frustration that my technical pens will work absolutely perfectly with diluted inks.  This opens up so many new possibilities in terms of colours.  Since beginning experimenting with coloured inks and technical pens I have always used white to tint, change and lighten each colour, this is how can I say...limited and lends my work a certain look.  Thumbing through books, magazines, surfing work from other artists - new and old I marvel at the colour and effects being achieved, all the while wondering how I can keep my work evolving.  Now, with this modest inky development I would like to begin exploring colours in a much wider sense, saturation, luminosity and some pure colours.  I have begun to find the use of tinting restrictive and it made me question the limits of technical pens.  As you may know I am colour blind so the use of colour can be sketchy ground for me but now an area my work demands.  

 

It's a nice thought that when I started to use colour it was a revelation, it literally transformed my work and passion for what I do in an instant, at the time I thought I'd taken such a bold step (as I'd always resigned myself to a world of monochrome work) and in a sense it still is the case, I embraced my deficiencies in colour with the simple thought in mind that that it is part of me as much as my ideas or current aesthetic so be courageous and use it - after all it's my identity and nobody else has it.  Essentially this thought distils what an artist is, what an artist has and how an artist works.  An expression of identity through a chosen vehicle (but not limited to).

 

I'm never going to be a gentle colourist or understand/ see colour in the same way that a normally sighted person does - however, this doesn't mean I cannot make an interesting submission into the very human endeavour of art.  It also (for any artists who are lacking in confidence due to colour blindness) doesn't mean that your use of colour defaults to bad or inferior - just different.

 

Thank you as always for reading.

 

Updates coming at:

 

www.stuartbelton.com

20th February 2017

I have been working as hard as I possibly can and I have felt my work taking on the desire for a genuine change in direction, a fairly subtle change, not a radical change in aesthetic but definitely a solid development.

My skeletal drawing process hasn’t changed really but the colours and the way I apply them has – and is changing. This for me is an incredibly exciting time in my practice because as some of you might know I am colour blind (not totally) and had always pretty much ruled myself out of the use of colour in my work.

A probably around a year ago I begun to use colour thinking I will use very bright colour’s that I understand and almost blast my way through the problem of not seeing subtle colour’s as most others do. This worked up to a point, then slowly I began to feel the restrictions coupled with the natural urge to progress. I tried ignoring this for a while but before long I knew change had to be instigated.

Fast forward to now and that change is in its
supernova – it is almost complete in the fact that my colour methods have changed so much.

During my degree I made sure I knew my basic colour theory as a well drilled soldier does his rifle. This knowledge over time has eroded so
I set about relearning what I had forgotten. Just reading about this stuff again helped immeasurably and I realised quite happily that I only needed the smallest of prompts to remember what I was recapping. (Incidentally I learnt my colour so well whilst studying to try to offset my disadvantages).

What I am trying to do now is use colours in a more sophisticated manner and not just bludgeon them into a drawing. Also due to different pens/ inks I am able to overlay colours now which has opened a very exciting set of possibilities. Dare I say maybe one day some paintings might come from this. I can’t believe just how much the colour aspect has become important now.

Thank you as always for reading.

 

Procrastinations of a working man

I’ll jump straight in I think with an update as to what I’ve been up to the last week or so since my last update.

I’ve been extremely busy which is good news and have managed to finish my drawing and submit it into the ING Discerning Eye exhibition. This is a huge leap for me and would be an utter triumph if it were to be accepted on my first time of asking.  I have been getting in from work and sitting straight down and drawing until around 10 o’clock each night, the work has been incredibly exacting and has been hard at times to stay focused, even more so for me given the name of this blog.  It has however highlighted some deficiencies that I guess can only be addressed by gaining more experience coupled with a healthy curiosity to learn.

Whilst getting the piece framed I came to realise that there are many types of frames and you get what you pay for in terms of tape, backings etc being acid free and the actual quality of the frame itself, this also made me think more about the materials I use in whilst drawing as well, now I’ve always been aware of the quality of what I use to an extent but think I will conduct a lot more research into this and be more choosy about how and where my work is framed.

My photography skills whilst never being brilliant I foolishly thought my fairly new camera could handle this side of things for me – no…I have discovered blurs around the edges, dark, light, dark, light – blue versions of the same drawing – this requires some thought and some work.

I found the actual process of applying for exhibition quite nerve wracking as I have never done it before, filling out the forms, making sure they are correct, making sure the piece is correct in terms of the requirements and then delivering it. I’m quite confident within myself but did wonder whether I’d stick out like a sore thumb to the outwardly arty people (discussed in previous posts) – no, the reality is there are all walks of life trying to exhibit and one size certainly does not fit all, in the end I actually really enjoyed the process and feel it is an achievement just to get that far, if I’m not accepted so be it, I will keep ploughing on, luckily my skin is very thick, my hunger and perseverance are at an all time high and I want this so badly if I am denied I will keep coming back. I expect to be rejected but you simply never know, looking at some of the other work flooding onto the submission desk I felt good about what I do – and that alone was worth the rigmarole of applying.

The pressure that can only come from your peers (when confronted by the work of others) has seemingly opened up a new and fresh train of thought and made my resolve even firmer. With every drawing that passes through my fingers I feel my hand becoming stronger and more sure. I should just say as well that the Discerning Eye application was stupidly easy and I applaud this – just one form and one label along with a £12 fee, I don’t know what other exhibition applications are like but this was a good way to start.

As I was so close to the National Gallery (I parked on Carlton House Terrace) I wandered over there after submitting my work yesterday – it would of been rude not to, and I had put 100 minutes on the meter as an insurance against the unknown entity that was submitting work (I was there 5 minutes) so thought I’d use the time constructively and visit my old friends who have taken residence on these hallowed walls, I gorged on Cézanne, Seurat, Canaletto and many others. Whilst strolling on my own through the halls I realised that I have deep, personal connections with many of the works at the National, so many of the paintings are stitched to different times in my life, I felt a wave of nostalgic passion rush through and overcome me. My favourite room by far is 45, the territory of the (post) impressionists, having stood in front of my favourite painting of all time (a Cézanne landscape) for a good 10 minutes I decided to take a seat just outside that fabled room, above the main stairs I people watch for a while whist absorbing all that was flowing through me – I felt at ease and very at home. Needless to say I was fizzing with new ideas and cursing myself for not having my book with me to record these – schoolboy error.

 

If you are reading this sentence thank you for taking your time to read my rambled thoughts and feelings.