Updated: May 26, 2020

sketch (2019) Meaning No Meaning watercolour on paper

So as I dig deeper into my work and reflect on it, I notice a few things:


The work is increasingly abstract and disconnected with subject. Though I see traces of what I was painting all of it has more to do with shape, line, colour and the ‘division of space’ than anything else. At the end of one section I even give a sketch the title ‘meaning, no meaning’.

Varied use of space

Work switches from dense and layered to open and sometimes minimal, then back again.


Text appears and reappears – more as mark than theme, often in response to what I have made, rather than as a trigger for making it. It is often obscured, scribbled or painted over so that only fragments of it are showing. I cannot follow some of what is being recorded even though I wrote it.


Colours vary from intense and bright through to earth but the words 'pale and pastel' (some might say subtle) do not come naturally to mind.


The marks are spontaneous, quick and entirely unorganised. They seem to form into something themsleves though.

I think these should be made into more work. Proper work. Which, by way of explanation, for me, means big paintings in acrylic, probably on canvas, because its ‘proper work’. But how do you replicate something which is more or less spontaneous and random?

It is at this point I abandon what I had been doing alongside the sketching….making watercolour works in narrative series based on myths, legends and poems. This was also a project when I started it but its now effectively put on hold or abandoned. I don’t know yet, even though I liked it and enjoyed doing it. But I am bored with it and the shiny newness of revisiting my sketchbooks in big acrylics or oils has got my attention.

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