Work in progress in my makeshift studio space at home.
It occurred to me recently that I’m plodding my way through this new series, painting when I can and whilst most of the process is intuitive that doesn’t help you as the viewer understand how I work or what my work is about. It may surprise you to hear that in truth, I’m not completely sure myself sometimes because of the intuitive nature of my work. Before you all throw your hands up in horror and confusion, I’ll try to justify myself by saying that’s like life isn’t it? I find myself making things up as I go along with most things in my life. Don’t you? When I’m parenting for example I use the skills I have at my disposal but it’s a constant ‘fly by the seat of my pants’ kind of experience. It was the same when I was teaching. Yes, of course I planned, prepped and faffed within an inch of my life most of the time, but nothing can prepare you for a curve ball in the classroom-you simply think on your feet and go with it. It’s the same here. I’m still learning when it comes to painting and when some gigantic curve ball comes my way I sit and reflect and ponder what the heck am I gonna do when really I find it is of no help. I really just need to leave it for the time being, then come back and plough through and not think so much. Thinking is overrated in my opinion in this situation. Why you ask? Well, if like me you think you’re possibly an ‘over thinker’, you can often think yourself into a trap! Or you can end up taking a path that takes up a lot of your time wandering down aimlessly down different avenues, exploring the art of the possible when actually you realise had you just stopped... you could have possibly enjoyed a more lighthearted meander through the whole park. The trick is not to get too serious. It’s a funny old business really. When I’m making work I’m generally not thinking much at all. That may be very hard to get your head around. But I choose and mix colours depending on how I’m feeling. Whatever I feel like using, I place them according to how I’m feeling at that point in time.
I may want to use lots of loose very thin washes of paint. Building layers of delicate surface which end up being quite rich over time. Or, I may feel the need to daub thick, less fluid paint with shorter, expressive marks that overall give a contrasting conversation with the free flowing layers. It all depends on that moment in time not what I have planned. There is of course some planning within the initial ideas. For example in this series I’m currently working on, I knew I wanted to work with a limited palette, and one that is soft and more feminine. The feeling of comfort and security that comes with that has been a driving force.
Layers of subtle washes of pink on canvas
Current collage sketchbook - examples of studies prior to getting the paintings started.
As we have eased out of lockdown it has felt even more important to work with this comfort blanket if you will. And to a degree, the uncertainty of life outside as it stands still gives me the desire to walk gently across a canvas with these soft clay colours from warmer climes.
Close up of the subtle textural elements
I also want my work to feel more spacious than it has in the past. Is this associated with the feeling of overwhelm I may have experienced whilst dealing with all that’s been going on in the world, or is this just a continual thread I am searching for in my work because of my love of minimalism? Probably a bit of both. Below are examples of the recent work I’ve been drawn to for either it's simple aesthetic, minimalist quality or subtle depth of surface.
Robert Ryman
Christian Hetzel
Cy Twombly
If we compare the current work I’m making to my previous series with their deep indigo blues and occasional expressive ‘washed’ marks here and there, then each piece previously felt it held a more bold stature. To me each felt confident, solid and real. Some of them were painted during lockdown and it was as if I was reassuring myself that things would be fine. My current work is softer. It feels quiet, gentle and in all honesty very new for me and maybe a bit surreal in truth, as it’s like I’m looking at someone else’s work. Interestingly that would align with the fact that for me life has felt a bit surreal. It still does. A confusing world of searching for security and protection. A simple ‘we’ll be ok’, but with underlying whispers laced with veiled truths, hidden judgements and a cold reality that no one wants to face.
Building marks on the surface of small blocks
As you're probably aware by now I’m obsessed with layers, and the experimental side of creating interesting time worn surfaces is certainly being pushed far more in this new set of work. I’ve just started some larger pieces, now most of the small ones are coming to a close, and we’ll see where they take me. I hope this has helped you understand more about my thoughts around this current set of work and if you want to follow along more closely then Instagram is the place to have a look - you’ll see more regular day to day stuff going on there in stories and on my grid. Follow @amandadugganstudio. And to view the pieces from my previous 'flow series' I was describing earlier, then please have a look at my website to give you an idea - www.amandaduggan.co.uk/portfolio
As always if you have any questions, please send me a message and ask. Until next time, thanks for reading and following my painting journey.
Amanda.
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