Exploring Surfaces and use of B/W

I have continued to work on faces. I am more consciously aware of how these images may develop. I have also become aware of my desire to wrap; wrapping a face in paint, wrapping a wood block in a paper image etc. I am, however, finding the route to work in the limited palette – tending to steer away from colour, or to convert to black and white, at least at this initial stage.

Cath1 Cathedit

Dr H by EBD

DSC_1226~2-3 Annabel1

Annabel by EBD

In this image above I am interested in the play of paint along the edge of the face and how, in the  black and white edit, it merges with the hair giving a less clearly defined profile.

DSC_1245~2~2_1-2 Steff Face


The difference between the colour and black and white images is extreme. The paint work feels like a patchwork quilt or something from a painting by Kandinsky or Hundertwasser.

In black and white the images start to feel like erosion, rotting, disease or decay. They have a powerfully ageing effect. Black and white adds strength and dynamism whilst simultaneously losing some of the detail. This balance is a negotiation which requires me spending time considering contrast and exposure.

DSC_1247~2 sketchedit1

Contours  EBD

The transition from colour to black and white with this image intensified some of the lines, whilst at the same time reducing the interplay between subtle tonally similar areas. The result will work well on the blocks which I have prepared (see below)


I am also planning on projecting some of the images onto bodies and photographing these with the images being distorted running over the surface. It isn’t necessary to use a body in this, however I am interested in the emotional significance of the imagery as a ‘mask’ of sorts. I am also interested in the notion of it being like a blanket; with the focus being on fibres and knotting, twists and overlapping. Something like knitting or weaving with paint.

layered annabel



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