Had a chat with Jeena for our one-on-one Studio B session.
Was a really casual but insightful conversation about my painting practice as well as 'gallery culture' that exists outside the art school institution.
I showed her my gesso-ed canvas, and she recommended sanding layers if need be to achieve smooth ground for painting.
Here are some key points:
On Galleries and who to trust when selling art-
Case by case is the way to go.
It depends from person to person in terms of who you want to purchase your work and whether you feel comfortable with a stranger 'owning' your personal art.
Studio practice-
Colour is a significant tool and possibly a context in my practice. Perhaps I need to look into this/ artist/ theorists thoughts on colour.
Adam Lee is fantastic with colour.
Using a variation of watercolours and oil will affect the nature of both mediums. The treatment of watercolours into oil works could be interesting. Its fluidity and transparency could be worked into the layered treatment of oil paintings.
Watercolour is unforgiving, unlike oil. It has a mind of its own because of rapid drying time, fluid water content which abstracts figurations in ways you didn't intend to. There is a collaboration quality when using watercolour, where the pigments, the drying time, the environment affects the outcome of the image. The artist is merely a facilitator. A complex myriad of cause and effects occur in the process of making from start to end of painting.
Watercolour is constantly in movement, akin to its name, water + colour, water cannot be controlled. water can be lead, but its fluid knowledge is beyond my understanding. colours are the marks that track its movement.
Jeena suggested using better quality linseed oil for clarity pigments. Schminke gesso was also highly recommended. And lastly, Medium W could be used to mimic a watercolour effect- fluidity and transparency.
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