TUESDAY 26 JULY
Exciting news - this painting has been shortlisted for the Lacey Contemporary Art Prize and will be on show in the Finalist Exhibition at Lacey Contemporary, London W11 from 3 -16 August
|Gallery view - Lacey Contemporary|
|Private View at Lacey Contemporary. (Ashley with Chris Salmon on left)|
WED 10 FEB
I've spoken many times about 'breaking (the perfection of) the square' - well, it's not a square now....
This is very exciting; the power and tension of the black-lines of 8th Ave and 14th St, holding the shape that wants to spin round...I've pushed the shape of Manhattan right into the corner - more plotting. Because of the orientation of the canvas, the original drips now become a subversive, subtle pattern of angled lines beneath the transparent paint. I think it might be done.
'Hello Mondrian..' would make a good title, though he wasn't fond of green! (or curves)
This goes back to something I was looking at during Open Studios last year when this painting and 'City of Glass 33 - (Buried)' were in very early stages.
|detail- City of Glass 37|
FRI 5 FEB
Early days but I already have a title- the relationship with words is so important in this series witrh its source in text*
Love the multiple meanings of the word 'Plot':
- plot as in narrative
- plot as in conspire
- plot as in plan or map....
In the novel, Quinn plots Stillman's walks onto a street-map of New York
In turn, in City of Glass 6 and 35, I have 'plotted' Quinn's walk described on pages 106-112...
In the act of painting, I have 'plotted' the grid of New York, already several times in this piece, to establish the angle, scale and position of Manhattan within the canvas , looking for the strongest composition.
My 'plot 'is for the Manhattan shape, once established, to be painted entirely with layers of transparent colours, giving the appearance of coloured-glass.....
*'The New York Trilogy' by Paul Auster