SUPPORTING DOCUMENTATION
work in progress of 'A faint touch', oil on canvas
Working on one of my earliest large-scale pieces was a time-consuming process. I had begun this work even before receiving feedback from Unit 1. During a tutorial with Anna Bunting-Branch after the assessment, she helped me reflect on how the piece appeared overly laboured. She pointed out that the material of the canvas might have contributed to this, making the process feel heavy and in contrast to the intuitive quality found in my sketchbooks.After completing the piece, titled 'The Faint Touch', I began my next painting with the intention of improving the surface I was working on. One of our painting technicians had advised me to apply multiple layers of gesso and sand the surface between layers. This technique would create a smoother, paper-like texture on the canvas, allowing my marks to flow more freely and bringing my approach closer to the immediacy of my sketchbook work.
work in progress of 'The Sound of Waves', oil on canvas
At the same time, I began experimenting with different base materials, exploring a variety of papers. I became particularly fond of a glossy paper I had randomly discovered at the Camberwell space, where free materials from a previous residency were being given away.
The texture of this paper allowed the oil paint to glide effortlessly, enabling me to achieve the same intuitive, gestural quality that characterises my sketchbook drawings, now translated into paintings.This experimentation led to the creation of three works: 'The Missing Cat', 'Wait', and 'A Party at Rua de Oerem', all of which were later exhibited at the SU Space show. Although I had initially planned to frame them for the exhibition, I was pleasantly surprised by how the raw, glossy paper; along with its uneven, untrimmed borders, enhanced the presentation. The unrefined edges added a sense of spontaneity and vulnerability to the work, which was also appreciated by the audience at the show, complementing its content more than I had expected.
installation image of works at SU Space,Camberwell
work in progress of 'The missing cat', oil on paper
I soon began working with handmade papers, exploring various mediums on them, which aligned well with my intuitive style of working. These experiments evolved beyond paint, leading me to explore video projections on handmade surfaces. Using resources like LinkedIn Learning and YouTube tutorials, I began experimenting with Adobe Premiere Pro and successfully created a projection mapping that aligned a video precisely to the size and texture of the handmade paper.
First experiment with video projection on paper
early experiments of oil on handmade paper
early experiments of water colour on handmade paper
early experiments of oil on handmade paper
Documentation of London tube and Indian Railways in Mumbai.
Currently, I am working with brown pigment, transforming the soil into oil paint for my ongoing pieces. This exploration will continue into Unit 3, where I intend to delve deeper into the traditional processes of Kaavi art, while also expanding my experiments with projection mapping in preparation for the degree show.
pigment made from spices
Sketchbook
Documentations
