A key strategy that I employed was a direct questioning of the role/understanding of the chevron shape as a signifier of meaning or not, how the viewer might read it as a ‘chevron’ or if as a sign it was not important to the overall reading of the paintings.
I feel like my artist statement framing the main question I had for the work;
I was lucky to have a mixture of peers from Part 1’s to part 3’s and it was interesting to discover that not everyone was familiar with the definition of the shape as described as a ‘chevron’. They also associated other meanings that I was aware of but hadn’t thought would be as recognisable.
- chevron motors
- kodak reference
Q: Does the definition or meaning of the chevron matter?
People were not so concerned with the meaning and more fascinated with the shape, the late artist Rosalie Gascoigne was mentioned but that was more to do with the road signage reference. There was also a strong recognition of other shapes appearing in the works due to the composition, colour and layers, a sense of spaces emerging from the picture plane.
To me this confirmed what was already starting to become apparent that by referring to the ‘chevron’ I was imposing a false reading on the work, it felt like people were initially aware of the strong shape of the chevron but that soon transferred into a reveal of other shapes appearing as people moved around the paintings.
The second key insight was a questioning of my choice of colour, there wasn’t a direct connection between the road works colours, it was more about the power of those particular colours together. None seemed to dominate and they seemed to be on equal terms but shifting from back to front again as you moved around the works (oscillateing).
Statement: Importance of colour – Power of colour.
The imperfections were discussed as being important to the work, the juxtaposition between the seemingly sharp lines that occasionally drift off into the raw canvas, gave the viewers a sense of femininity especially with the transparency of some of the layers, a veil, sexy and psychological.
The way some of the paintings were hung also became a hot topic in particular the painting flush against the edge of the entry wall, this led to a discussion on my treatment of the edges of the painting. Why do I wrap around the edges?
Statement: Interesting that the black is always on top.
There was a question around how do I choose which drawings to follow thorough to the canvas and what significance is the chose of portrait as the orientation of the paintings?
Q: What does the materiality you’ve chosen DO?
Statement: There is movement within the works.
Without doubt I have a whole new set of questions to ask myself and of the work, not lest where to contextually.