Methods

& Material

Since the past year I have comprehend to the fact that to me the result is not fully predictable. I believe my methodology of working in accordance to painting process is simple and manageable, what is surprising to me is the outcome. I have a suggestive drawing of my expectation of the end result which intend to see changes while in the making and so developing moderately complex. Littered with trials, uncertainty wears the gradual evolution of outcome saturated in process of negotiation that sometimes seems evidenced in the revision and over painted layers My work concentrates majorly on straight lines and hard edge calculated dimensions therefore requiring reliance on geometric devices.

I have also direct to adapt painting on wood panel ( Mdf and plywood ) other than canvas and linen providing me new ways to work and experiment along with mediums on such hard surface. I prefer to work more using acrylic paints allowing me to submerge with more paint layers and a large room for customization with the color range and brands, viz. to mix heavy body with soft body type acrylic paint to create consistency that falls between the two.

The primer and ground

I personally  believe this  is a very good start to begin towards a more quality finished outcome. I prime canvas in 6 to 7 thin layers of gesso (Golden or Liquitex) in a gap of 15 to 20 minutes drying time in between. On Hard surface like wood I have started using Chalk ground on smaller panels of 18*10 and 10*10 inches. As demonstrated by Tim Johnson Methods and material workshops the technique involves wet on wet layers, I prefer to use 8 to 10 layers therefore  later allowing me to grind a layer or 2 with sand paper in order to get a fine smooth surface.

Coloured ground

I use different ground color for each work depending on what my subject and overall color palette I will be using. I usually apply 4 very thin layers in alternative direction; horizontal than vertical. I mix match color and possibly try to avoid using bright colors. Generally If the painting involves more bright and warm colors I tend to use dull or cool tones made up of peach or brilliant yellow- reddish, medium magenta, permanent rose and white. While if the painting involved calm colors like blues, white, greys I use a earthy ground consist of yellow ochre, burnt sienna cadmium yellow deep.

Formerly a considerable amount of time is spent on drawing and mapping the composition by initially dividing the surface into equal 4 or 6 grids partition since the work combines lines and shapes that are manually constructed on larger plane operating free hand perspective and geometric tools. Although total abstraction is plausible for me to entirely resist on just geometric forms in drawing. Thus perfect lines and careful measurement and scaling of distance within  various elements of the composition provides uniform execution for further step in applying colours crisply divided through these hard edge lines.

Mapping,

calculation

and

Drawing

Extracting images through Collage and magazines.

Typically seeking influences from artists such as Dexter Dalwood, Njideka Akunyili Crosby, who equip collage as major process in their art practice, my painting initially start out as a small college – drawing composition , while literally assembling, cutting, pasting from the pages of magazine specifically from  home & lifestyle section of book stores that includes Garden living, Elle decoration, living etc, home & antiques and so on. In the subsequent large scale surface the sharp clinical edges are faithfully reproduced. In constructing these picture I prefer referencing images in high sophisticated genre weaving together personal, cultural, architectural components to produce complex new imagines scene. These scenes are usually hinting towards private interior spaces that I had or would desire to encounter in life. Simultaneously these images present a compelling visual aesthetics of harmony at first instance, however scaling this on large area gets complicated in order to counter generalization later. My formative years in India are a constant source of inspiration, plus my grounding in western art and everyday experiences adds more layers of reference. Miniature art, intricately patterned walls and interiors, the academic tradition of still life painting, modern stuffs and objects are vehicle for gathering image.

Color families

Color is such element of language for me allowing me endless possibilities to try ultimately leading to become a family of color blocks. the important thing here is to turn off other brain parameters and just play with repeated new range of color formation each time it is dissolved to its contemporaries. sometimes it feels like putting random things together to tell a story. when I put two color together (might be complementary or might be juxtaposing) it immediately reflects me to think about WHY, for me that makes a story.

 

One section at a time

I like to approach my paintings using the method of one section at a time, only moving another part of the painting when it is totally finished or dry. I like to gradually work from either one corner to other or to paint the faraway elements of the composition first according to its spatial dimensions. As I work in acrylics this procedure let part of the foreground in painting amalgamate  to the crisp  edges of the background perfectly.