It was an experimental time.
I started with the simplest thing - gloves, with thin gloves, my hands always got dirty, and a rash appeared on the places where the paint got into. I changed the disposable medical gloves to thick rubber gloves. In the process of work, I stopped feeling the material. I didn't feel paint at all. Then it became clear that the relationship with the paint itself was an integral part of the process.
Experimenting with the shape of the canvas itself and the designs was very exciting. But I get the feeling that the form turns out to be very loud, and the colour fades into the second role. Colour can benefit when form comes from colour. Here I can further investigate directly the shape of the colour.
I tried to incorporate light into paintings. But it turned out that the paint with the newspaper is so dense that the light does not pass through the material. So I had to remake the "lamp" into something else.
The result is such a combination of natural and inanimate material. The rhythm of the colours and the surface of the painting communicate together, but the idea doesn't work. This is not colour, and not conceptual art, rather kitsch.
Changing the shape of the paper itself was boring enough, but I think there is still potential.
The process of working with blanks itself does not work for me. By my nature, I cannot sit for a long time and make something. I need to do it quickly and effectively.
The sharp shape of the paper is expressive enough for something sharp, picky ... that shape can help convey mood.
And I tried different forms from the paper itself. The elongated straw turned out to be very funny. But this technique immediately reminded me of an artist Gleb Skubachevsky. Although he calls his work living organisms, and this is a completely different thing from what I am talking about. But it seemed to me that if I now start making works with a similar form, the artist and his gallery could sue me for plagiarism. Who knows, tell me where the truth is?! In any case, the form is intricate, and I would like to work with it. After all, artists do not judge each other for the fact that, for example, someone else knits with a cross or makes the same origami of swans. The point is what the final result is.
Gleb Skubachevsky at Gskeri Gallery [Art object] At: https://www.askerigallery.com/artists/gleb-skubachevskiy/ (Accessed 20.07.2021)
Another form that gives me interesting ideas ... These are loose sheets of paper that have become quite rigid and capable of being both canvas and free form. I really like this experiment. I will work it out further.
Another successful option turned out to be with balls. They also became, as it were, a continuation of my search for volume on a plane surface in my old works. This time the balls turned out to be lively and dynamic in shape. Since it is not perfect and there is a gap for gazing. The very process of creation turned out to be natural.
Then I thought about what we usually do with paper, write on it, read it, and then hand it over for recycling or tear or crumple it. This natural process of crumpling into a ball indicates the completion of something, or a mistake in the document, or some other human feelings embodied in these simple balls.
Cubes, by the way, have not yet captured me so.
The use of recognizable objects - shoes, a chair, a suitcase, helped me understand that I want to talk about something other than that. Not about changing the essence of objects and giving them a different history, not discussing consumption and tourism. These items are very straightforward and direct. There is no riddle of colour and depth of thinking about something high, as it happens with colour.
Something similar happened with the flower pot. The introduction of figurative images does not enrich either the subject matter or the technique.
In this long search, I have come to a pure colour. And the larger the surface area, the greater the feeling of being immersed in colour.
