'Fire and Armour' interpretive project complete 2016

Body of work for 'Fire & Armour'

New painting

'Fire, Wood and Copper'

Close up

Having made the first two paintings just a few days ago, I am amazed at how pleased I am with this one, it feels freer and fresher than anything I have painted before, I am keen to continue these paintings. 

The box book

This piece can be moved and manipulated, single or double storied, the outside squares are close up photographs of the original oil paintings and the inside squares are original copper plate prints. I wanted to get the feel of the malleability of copper, movement of the flame and transform / transmute quality of previous works.

A complete body of work 

As a body of work, although it leaves more possibilities than it resolves, I consider this the best body of work I have completed for any college project so far. I feel it attains a good resolution in itself and opens itself for further work in future projects.

This project was as a response to a historical artifact, originally metal plate armour, which I felt contained amazing colour reflection, animation, movement and visceral response.

 

"When something's visceral, you feel it in your guts." www.vocabulary.com/dictionary 

When I consider the work I have produced form the original stimuli, I am equally taken by the movement, the diversity and the evolution of this work.

I had not considered myself capable of this work so I am keen to continue this work into the new year and evolve it further.

To look at this body of work within it's contemporary context, many artists are not only producing paintings but are making a body of work through several or many media as a rounded and varied exploration of a subject matter.

Paintings in Oil 'Fire & Armour' and the next stage

From the photographs and video I made of the burning wood and copper structure I have made some paintings in oil on canvas

 I have really enjoyed painting again and I'm not yet sure these are finished, but I'm still keen to bring 3-dimensionality to my work as often as possible.

I have photographed sections of the paintings (and I think I like these better) to make the next book. These have a rawer quality again

These are a few

I love the texture, brush strokes and colours, they are so abstract especially considering I started this process with wood and copper. I think I am more pleased with these photos than the original paintings.

My plan from here is to put these together backed by original copper plate prints that I made with a view to emmulating the copper colour and texture itself.

As an aside 

At the beginning of this project I made screen prints of a figure in grid, 

then cut the grid and turned the figure into his own box, 

I am drawn to use this again to create a box shape for 

these new prints by linking them together