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Studio journal #7 – February 2021

Greetings… If January was the longest month for me then February has certainly been the most transformative – not quite 'career defining' perhaps, but certainly career changing.

Lockdown has enabled me to continue my experimentation with acrylic abstracts, to the point where I now have a collection of artwork in various sizes and styles. Working through the process from that first idea to completing a first piece, and then evolving the process for subsequent pieces has led me to think that there's scope to continue producing work with enough variety to keep things interesting going forward, for a while at least.

I'm enjoying this new way of working, particularly as it's a hands-on, analogue process from start to finish without a computer in sight  – the complete opposite of what digital photography has become. Not that I'm turning my back on photography though, I'm just diversifying a little. Variety is the spice… and all that. 

So, I've had to have a re-think about how to label myself, and you may have noticed my new 'branding' above. I've re-designed my website over the past couple of weeks and, having taken a rest from posting on Instagram, intend to start on the social media bandwagon again soon.

I still have a few things to tweak on my website but I'm pleased with how it's looking so far. If you have a few minutes I'd love to get your feedback on it and any comments on my new work.

Thanks, and best wishes,
Richard


Not this months posts…

Lack of 'studio life' has meant that I haven't been posting on Instagram for a while so I thought I'd show you the process for my new work and how it comes together.

1. My source material consists of recycled paintings that I did in the first lockdown alongside new acrylic abstracts that I produce when I need a specific colour range for the piece I'm working on.
2. The paintings are cut into strips and laid out to form a design. On larger works the strips need joining together and so this particular design started off with angled sections top and bottom.
3. The design often changes at this stage, both in the layout and the colours used. I thought the sections were too formal so switched to a central shape with less defined edges.
4. Once the design is laid out it is transferred and stuck down onto the backing board, piece by piece ensuring the strips remain vertical (well, within a mm or two…)
5. The background strips are laid out ready to add to the backing board.
6. Each strip is then cut to fit either side of the central element.
7. Background half finished. I often come up with the title whilst working on the piece. On this one I like the way that the background and foreground merge on the less defined edges, hence 'Interference'. 
8. Completed. 'Interference' is the largest and most intricate design to date.

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Don't forget Mother's Day on 14th March. I've extended the use of code MDAY21 which gives 15% off any order from my website until 14th March.

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