My studio-time is again subject to pressures due to starting doctoral research at Birkbeck while still juggling a mixed bag of part-time work ranging between mural-painting and bookkeeping for an Auction House. Squeezing in a post-work visit to the Richard Tuttle exhibition at the Whitechapel I was reminded about the necessity of keeping a thread in my practice, or as Tuttle might put it, weaving several threads. I was motivated to immerse myself in more of the making processes of my practice than I usually do – processes of collaging, twisting and connecting my shapes together in real three-dimensional space, while maintaining, in my painter’s eye, the visual potential for these forms to translate into painterly processes of image construction. This process of translating physically manipulated form into visually manipulated image seemed to be paralleled in an intriguing tweet by the Whitechapel Gallery itself, as described in the review excerpt below. In the meantime, I’m breaking with previous tradition for this blog, and illustrating this post with an image of three of my own collage-constructions which came out of this Tuttle-inspired process of thought.
‘This publicity idea seemed to say more about the experience of the exhibition’s invigilators, watching layered-up members of the public negotiate their way around Tuttle’s delicately constructed sculptures, than about visitors’ own intentions when they decided what they would wear that day … Primary yellows and reds of mass-produced objects and functional wood/metal tones do indeed combine to create a sympathetic, even domestic environment for the Whitechapel Gallery’s wintry visitors.’