DEM art&design: Another revisited still life

Well looking back at my time frame is has became apparent that doing this research and still life has taken more time than I had first anticipated. My studies on the apple and flower in the first few weeks I do think helped with the idea and concept of building up a work. My planning and execution however, suffered because I didnt really have a plan or idea of what or why I did these things. I've felt ups and downs in doing this work and am still

annoyed with parts of it. Why cant and look and just paint what I see? Again maybe need to take more time. I've found this whole year tough and yet and a greater understanding somehow about my learning in certain areas. Somethings changed but I seem to be lost in the middle of then and now.

I wanted create a more painterly style in my work... I don't really want realistic.

Above I had made the shadow on the table cloth seem darker than below image. I not sure if this worked better or not!

Next I felt the pink was too light and while it was a fresh painting I was unsure how to move forward. I decided to add a greener grey colour to the work to make it tonal work.

in the end I ran out of time and I handed in the piece with areas I still felt were rushed. This alone tells me my time scale and execution were off and I failed in producing a final image.Luckily it has been a massive realisation into the importance of being organised.

Artists I looked at

Alison Watt was born in Greenock in 1965 and studied at Glasgow School of Art.

Known for figurative painting but also drapery. I think I should of studied more into this kind of closeness with regards to the tablecloth.

Scott Conary artist from Portland Oregon who I think I'd look to have a style like... The texture and paintery marks for me are amazing. As well as the shadows, so of the work actually makes me think and feel something irrelevant and not remotely connection to the image. Like the meat below with its colours makes me feel soften and emotional to my own inter feelings. I think use of colour plays a part in this. The pinks and blues for me always speak on an emotion level and somehow, connect with my own vulnerabilities. For me the still life can speak on so many levels and tell stories of past and present. Not just because of the skulls or death animals it sometimes features.

Quote "Throughout all of this, the urge has been to paint. It is what I do and what I am. That I'm painting better than ever is no small thing."

Lucian Freud

In this still-life painting the texture of a prickly sea urchin contrasts with the soft flesh and oozing ink of a squid. The artist was one of the world's most important portrait painters, known for his thickly applied paint technique. This is an early example of his work where he is experimenting with ways to paint flesh. Here, he used a fine, soft brush, probably sable hair, to apply his paint. Shortly after this, he was advised to use a coarse hog's hair brush by his fellow artist, Francis Bacon, which gave Freud an effect he preferred.

These daffodils I love. I wish I had seen this before now

For many a still life is just a representational thing but for me in the complex world that is my mind I like the fun and idea of bringing meaning of different levels. The unknown and deeper level I always seem to wanna find or in many times find myself in. Then the gratitude and appreciation of a time or situation.

Cezanne

So many still lifes to choose from but for me I enjoy them all, his marks and looking in and behind objects but also his distorted viewpoint and style. The background meeting foreground. Something my own still life lacks. I think I will continue to paint apples. If not for any other reason than to stop making them look like tomatoes or oranges :)