- move the works to a new place to see how people respond to them (away with the fuzzy bleeding edge on the wall from the painting process)
- tony said it feels like a womb (The pink one) emergence?
- the pieces are big but retain small delicate movements – tensions between big/small (gesture) and warm/cool colours
- very intense pieces. think about beginning to shape them.
- bodily sensations of commuting, physical and mental drift while commuting. the sensation of you being sat down and stationary, but the bus is transporting you and the bus is moving.
- shapes reminded people of the crammed-ness of a bus vs how much empty space there is outside of the bus – densities
- spacial awareness of shapes and colours in the composition – spaces in between are v important
- Jeena said to explore the quality contrasts of the paint more – more transparencies and solidities, more gesture and flat colour, etc. she also said i gotta do oils which was a bit of a cry because i hate the dry time and how it completely slows me down and tape doesn’t stick to it and its a whole mare.
- Mon was ‘satisfied’ with the red/yellow piece. layering – the different moments in time, interested in different applications and treatments of the paint. different rhythms with gesture, being held by the work (!!!)
- Louise Bourgeois’s watercolours
- moving from something you recognise to something you feel –
- Mirroring inbetween spaces, physical and mental. – the experience of commuting and experiencing art. real and paradoxical spaces
- PARADOXICAL
- more thinking about edges.
- don’t cut the edges. the composition was done with those boundaries so to cut it posthumously would ruin it.
- Jeena said i was doing “really well considering” that i was using acrylic. Acrylic is a sad boi.
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