The Arched Cross

This week I have been working on finishing the painting cycle of this module. This will leave me enough time to reflect on this body of work and write my contextual study.

This cycle of work has been painted on the panels I felt had been more successfully prepared: with the rollered surface. This proved to be the case. They were a joy to paint on. The surface was wonderfully smooth and this made the whole process much, much faster. Usually I would have to repaint lines several times – particularly as I got tired – due to the surface. With these new panels I only needed to repaint the surface if I misplaced the line rather than due to the surface creating a wobbly line. This made the process a whole bunch quicker, more precise and more gratifying.

This piece was part of my Shard to Kings Cross journey. But it turns out it is just taken from around the concourse at Kings Cross. Most of the purple comes from the sculptural roof arch on the concourse – so I decided to name this piece The Arched Cross – in reference to the arch and the location. I hope this is ambiguous enough to allow people to make their own attachments to the name and colours.

photo 1 sm

This is a landscape panel as I want it to be read from left to right as you would a book. However, if it is read another way or as a whole, I don’t mind. But my intention is that it is left to right (as per my viewpoint from my empty chair).

Initially I was going to call this piece Glass Kings and then (since I knew there wasn’t any of the Shard involved in this panel) I needed a rethink. Something made Tubular Bells pop into my head – not sure why, perhaps it was a word association thing around the tube as a lot of this journey was on the tube. I also remembered that it was extremely hot that day and the tube was a bit smelly… Hence the name ‘Tubular Smells’ came into my head. I then discovered this was based around the Kings Cross concourse, so came up with the name Arched Cross. But I thought Tubular Smells was an excellent title – so I decided to do a small series of panels with that title.

I also remembered hearing a quote on Simon Mayo’s show earlier in the year – can’t remember who by – that said we could never run out of colours in the same way that we never run out of unique music and combinations. It made me think about coding and colour and music.

What would you get if you assigned a colour to a note and took a piece of music and reproduced it with stripe width according to the note length? I would really like to investigate this further. I’m not sure I will be able to do so before the MA show, but I would love to try this out in the future.


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