My direction of travel was clear after the Winter Cabaret exhibition, meaning production at a larger scale had to be done. Fortunately, the construction and layout of studio 4 offer a handful of ideas to work with. Originally, the stretcher was made to fit inside triangle beams but because of lack of equipment, health & safety concerns it couldn’t be done. The outcome changes the original intent completely. If the painting was to fit neatly inside, it would’ve become a mural that serves a different purpose.
After seeing Bridget Riley’s exhibition at the Hayward Gallery, it came to realisation that there are other methods of presenting a painting. Because the Winter Cabaret was an opportunity to experiment with something I’ve never done before, I decided to examine how my paintings can fit into the space and display them in a more unconventional way. The installation is a combination of paintings on different surfaces. Segments are drawn directly onto the wall, MDF sheets and canvas. Previously I have hung the yellow painting horizontally at eye level but the result is no where near as dynamic as hanging it on the top of the wall. Combined with the 3D effect from the polystyrene cone inserted underneath, it generates an attention centerpoint.
An attempt to use the lightest grey possible in such manner that white can still be seen. Despite that the shade of grey in both paintings are the same, it is harder to distinguish in Grey Lines (four triangles in the corners and the line going across is grey). As a result, this shows how important the shade white is when incorporating it with other colours/shades.
Determined to experiment with another shade combination other than black and white, I came across the interesting fact that the colour duo black and yellow stimulates the eye the most (hence it is used in many road signs). Adding to the different colour combination is the composition of the painting. Unlike others, they are centralised. Because of the focus and 3D effect, the work generates a spiral effect.
Experimenting with colour additions to black and white paintings without it overpowering the original contrast of the two shades. The concept of decentralisation also comes into character as the painting does not solely concentrate on an object or a specific section of the work. The intention is to invite the viewer’s gaze throughout the painting.