Remember me on this computer
JP Delaney
About this artwork
Title
Star (internal)
Materials
Oil on paper on panel
Dimensions
h.50cm w.55cm d.4cm
Completed
May 1987
Artist

JP's Description: It's so long ago now that I don't remember much other than I'd spent perhaps 18 months working over a small series of oil paintings that focussed on simple forms that became studies in colour. Day after day I'd work and re-work the surface until somehow I'd reached some sort of resolution. The series (mostly lost) represents for me an important time in my development, and became the precursor to when the paintings started to take on 3-dimensional aspects, eventually breaking out into real space as sculptural statements.

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Comments
Hillel
2006-06-06 05:00

I know you've been concentrating more and more on your three dimensional works of late and even your earlier paintings are kind of like studies for sculpture. When I look at either your paintings or sculptures I always get this urge to cut them up and
and reassemble them. To open them up and upset the continuum to add a sense of space (time) to the work.
I think it would be a shame to give up your joyous use of colour which, as in this painting you have such a great feel for. Have you ever used corrugated cardboard sonotube forms, light woods
and papermache, etc. as a medium for sculpture. I think for you it might be very liberating. The beauty of it is you use no metal, wire mesh, nails etc. and the finished result can be painted and varnished and is tough as hell or if you want to cast it and make a multiple edition, the inner sculpture
can be burned away.

JP
2006-06-24 05:00

Hillel, do you teach art? I'm sure you're a popular professor with the students as your comments tend to be pretty true to the mark.
As a general response, I had migrated away from painting form and color for many years as I felt I'd worked myself into a trap, and couldn't find a way out. I then began to concentrate on monocrome 3-dimensional stuff that I really enjoyed. The problem was I could never get rid of them - no-one wanted them, and they'd throw them out even if I gave them away. I thought I'd start painting the 3D works to give them a feeling of "artworks" (that's pretty lame reasoning I know) and so I find now that I'm back in my old trap, but this time in three dimensions.
I'm curious about your wanting to cut up and reassemble, and would appreciate if you say a word or two more on that.
In fact, I'd really like to work with sheet metal and oxy-acetaline - an absence of color. I've never done that kind of thing before and reckon it'll be pretty expensive. Maybe one day I'll manage to arrange it, who knows?

Hillel
2006-06-28 16:42

You have an inventory of forms you use. You can pull them out of your hat and produce mural sized walls of the stuff. The fact that they'll be whitewashed the next day doesn't bother you because you have an endless supply and a total command of oils. The problem, as you know is you become sick of your own phrases. To break that pattern I'm suggesting that you take a painting break it apart. Start with a grid, regular, perpendicular whatever 16, 24, 36 equal parts. Start shifting them around. Move some slightly, interchange others. Remove some entirely or overlap some. Do this on another support and glue it down when your satisfied. Merely an exercise meant to introduce the component of time into your work and surprise yourself a bit.

JP
2006-06-29 13:35

Hillel - patience with me please, I'm a little slow:
How does breaking up the painting effectively add the element of time?

Hillel
2006-06-29 20:39

There's a time lapse between what you see and what you perceive, just as there's a time lapse between the right and left eyes as they adjust. These slight physiological disturbances are a fact. That's what this fragmentation exercise is meant to achieve, a sense of that disruption that actually gives you a sensation of time and movement. I'm only suggesting it as an experiment.
I really hate getting into this stuff because as I've stated before we're all individuals and have our own sensibilities and ideas about art. That's why I never wanted to teach. Teachers tend to impose their ideas. All you can really do is give someone some crayons, paint or mud and say "here take this shit and then spend the rest of your life trying to learn how to see and make art".

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