"Brexit?" - Ink and pouring medium on sprimed stretched canvas 20.5x20.5cm

This painting makes me feel a sence of relief. It slowly made itself an event which no-body could make again. Even with a simple chemistry of three colours: Red,yellow and blue. It still suprised my expectations and became more powerful than possible, considering its little size.

"Remain, ukay?" - Ink and Medium on Mounted ply-board 20.5x20.5cm.

Like wise, the wooden equivalent made another unique effect, as though transperant, the wooden grain collaged in dilute colour. Thissuface was completely flat, which needed more encouragement to getmovment; by tipping it to one side, its as though the colours are expanding out from a point.

"Brexit is Nye" - Black and white primer, pouring medium and acrylic inks. 75x45cm mounted ply-board.

I felt the only way to balance the vivid strengh of the glossy ink was to remove it entirely. By coincidence, with recyled materials I've used; the cross outlines and frames the englishflag, in technicolour. I feel this was a beautiful and inspiring breakthough, which I have revisited in later paintings. Thename is a play in words 'The end is nye' because the imoratance of ecology is being forgotten for the interest of politics.

"Propaganda" - A2 Paper, Indian Ink, water colour, cut-outs and string.

A translation on Mark Titchner's approach towards typography, poster and mixed media art work. Although this isnt the size of Titchners murals, there is a cinematic quality and social commentry. However, this I will pursue in greater depth given more time in the studio. As we can see in Titchner's exhibition Video we don't use the same quality of materials; please watch and share my technique Saturday video from youtube.

PLAY VIDEO - Studio Practice: Pouring Medium

A quick demonstration on how I use the pouring medium to create amazing colourful effects.

The Display of, 'Brexit'.

This is composition of a piece I see relevent to our political status. It is symbolic of divied votes, almost 50/50 and the overiding power of politics which descides anyway. The material themselves are just recycled boards and 2x4. Made in October 2019.

PLAY VIDEO - Inky Bubbles

In my exploration of technical painting, this is more complicated and needs rigorous experimentiong. A technique I learned from my brother at the age of 14. I value this imagery like a family trait, such as our blue eyes.

PLAY VIDEO- Mark Titcher Tour

An excellent video insight, into the passion Tichner opperates into his exhibition at Firstsite, Colchester. We are able to reciet the real qualities of the paint work that Titcher has and the assistance he employs.

'Scared by Scotland' - Oils and Woodcut 70x40cm.

The piece itself has changed several times. It is a similar size to 'A piece on war' as demonstrated in further imagery here.

Oil to stain and woodcut.

"A Piece on War" - Black and white primed ply-board, mounted supports, indian ink, masking-tape and celo-tape 80x50cm

The excitement made in the "Brexit is nye" I wanted tojuxtapose the sentiment of the painting, in an international school it would otherwise compliment or be seen as'supremisist'. To express my contention with glabal coniuosness, the conflict between the european union is illustrated here, by the impermeable stature of the solid wooden board; sliced by the knife and taped back like a ravid animal. Hence the name, like a battle for no reason, just a treason.

The Drag'on of Wales - Oils and Ink on mounted ply board 60x89cm

This oil colour has a historical commentry on the confusion expressed by Wales, caused by the polital arragments in the United Kingdom. Its also a pun in suggestion to pronouciation and spelling. The white peals come from the weathy dynasty's flag in China. They also represent a playful balance, among specles of ink its cosmical and like floating bubbles. The black circle in the right hand corner was an acident, representing the spatial improvisation I used to compose a multi-cultural impression of the welsh dragon.

A Caged Shamrock - Oils, Acetate and wire on board 122x153cm.

The Irish flag is green, white and red. Although there isnt a shamrock (clover) in the centre I have experimented in materialising one with wire. In commentary of war and violence withing the UK, a four leaf clover is 'behind the bars' of wire; as though improsoned.
Oil Colours, Acetate and wire. Mounted ply-wood. 122x153cm

Read between the lines - Oil and ink on board 122x244

After copious amounts of travelling across London to reach check points, this expresses the undesirable view I have from my bike. Again, all the materials are formed from separation panels and the misellanious bollard in the corner is from the road side. I found an unused light set up to make it illuminate the work.

Unit 9: Research mood Board

This show boats photography and hand-made prints. The research file and journal are under neath in a shopping basket to demonstrate 'consumer traffic' in thematic of 'Painting as Agent' for unit 9.

'A Romantic Road' - Gauche on Canvas 50x60cm

After the series of monocrome photos I developed, they were put to good use. By selectively cropping element of each photograph, the compositon becam for exciting with narative and imagination. The practicality of photography is in the same vain as observing the changes to political debates and small samples of the public and differing culture; some picture are taken in Florence, Italy.

To conclude, the group discussion on this work guided me to work on more black and white paintings you will see later in the portfolio.

PLAY VIDEO- Experimenting With Pouring Medium

Using the back panel of 'The Caged Shamrock', I made my first double sided work of art!

Vegan Aparell

Red dye inspired by Lilah Fowler's algae staining process. Click this image and load the link:

The Mysterious Box and patterned plank - Charcoal and oils, fresco/plasted box and scafold plank

This develops my research file with comments on artists and peoms, incribed with charcoal. Some you may be able to read from this picture: Mono-lith, Stanley Kubrich's film 'Space Odessy'. Not only that, on the other for sides of the box are drawings of and about Stan Brakhage and personal poems on individuality.

Corridor Show - Image/wall 1

I had a week of display in the college, exhibiting all the work made that year. These make up a series, however, I would have prefered a striaght horizontal presentaion.

Corridor Show - Wall/image 2

This is a new work, which combines materials such as Oil paints, accetate and spray paint to make the impression of the Caltholic Domo in Italy, Florence; where I enjoy my summer holidays with family relations. The work is called 'Collapsing Cathedrial' because it look as though the building is sliding off the canvas: 2x3m (2) Primed and streched.

'A Tsunami on The UK'

The board is primed with white gesso and collaged with images from the national geographic magazine. Then I painted over it with oil paint and when dry; vanished with clear-acrylic 2x2m board.

'A Mantel Piece' - Oil on Board 50x30cm

Again, on scrap wood and as you'll find with most works of art at this stage in my work. I am meddelling with the concept of Apocalyps, since the governments referendum to leave the EU has passed. Also, the storm Ciaro AKA. Kade that has faitaly struck countries around Europe.

'A Random Picture Painting' - Oil on Board 60x40cm

Scap board and monocrome oil paint, like 'The Romantic Road' I have done mid way through Unit 9: Painting as Agent. Although this one is not entirely surealist, the image from which I painted was a refuge from the skip.

Alistair Mackinven Responce

Oil on Canvas, using olive/vegetable oil. 60x50cm Because I have been lacking the facilities and resourses for painting.

Bruce William's Response

Oil on Canvas and white spirit. 60x50 cm This is a common DIY swap for turpentine, since the lockdown limmited the local art shops for specialist materials, mediums, equiptment and any other utensils.

Anselm Kiefer Response

Oil on Canvas and white spirit. 76x61cm After seeing Kiefer at the Royal Academy in 2000 something, I have always been a fan of his diagramatic lanscapes. The texture of blotted colour merges together to form a representation of sand and sky. Something I didnt do intentionally, yet became apparent due to my limmit pallet of yellows, blues and greens...

Collaboration With Olive Curran

Oil on canvas and vegetable oils. 60x50cm Although Olive doesn't know about this work as I write, right now; she would see the similarity. Curran is also on the Wimbledon BA for fine art and we share the same interests into the grand perspective of rooms and their connection with modern ways of looking 'out from the window', rather than looking at what houses the window from 'inside to out'.

'Painting the UK' - Gauache on A3 Cotton

Prior to painting the 'Tsunami on The UK', I used a sketchbook painting to prepare my understanding of form and colour. It is a form of psycho-geography, because I have studied both the land-forms viewed from micro to macro. This is a birds eye view of the UK shape at the moment, thus the earth tectonic plates can move and cause natural disasters.

Water Colour Studies - A3 Cotton

Over this period of epidemic isolation, water colour painting has been the most accessible ways to paint. The left painting represents a open front door, which we had new painted in blue at my house. And the right is a solice wave which is lit by the sun. A technique I learned from youtube show Bob Ross and his guest presenter, JOYCE ORTNER - The anatomy of the wave.

Oil Paint Studies - A3 Cotton

I really struggled to get the perpective proper in the painting, especially because I ran out of room and was fustrated with the oily medium; dry time, 'whitespirit' and sketchbook.

Woodland Camp Fire - Gauche on A3 Cotton

Winter Landscape - Gauche on A3 Cotton

Summer Landscape - Gauche on A3 Cotton

Spring Landscape - Gauche on A3 Cotton

This painting became increasingly exciting for me because I visited a sight called Epping forest, which has a similar reseblemance to the Bob Ross tutorial. So I worked more-over and added additional sign post arrows attached to the tree, which sybolises the journy we took through the city to reach the forest.

Oval and Circle Painting - Gauache on A3 Cotton

With whatever outlin you want, this method painting make a great contemporary style.

Sketchbook Outro Page - A3 Cotton

Using my imagination to emblesh a feeling of simplicity after a complex series of sketch book work, the island and the boat to contextualises a near by end to an adventure.

Fruit on a Persian Rug - Stylus on iPad Procreate

My image displays the importance of fruit and all plant matter in the diet. I have reflected on the work and what it means, why it looks bold and contrasts well? I now feel a movement to research more about Banksy and his notorious exchange of the gun for Bannana. And the symbolism of the apple in surrealist portraits. The rug itself is a real imported persian carpet, woven with navy and red thread; currently in my room.

Secluded Swimming Pool - Stylus on iPad Procreate

This is from image observation, looking at my Grand Parents swimming pool in Tusany, Italy. However, its such a normal view point, not nearly as exciting as David Hockney's sketches on iPad apps.

Still Life Painting - Oil on Canvas

The desk I had was like a mental barrier between me and painting and so I proceeded to battle with the work buy observing what needed doing most. The sculptures there, I now intend to paint for more narative.

Circle Painting - Oil, Acrylic and Gauche on Canvas

I used a mixture of paints because some where more suitable to paint with. For instance, the background is painted white with acrylic to stop the paint from blleding around the circular contact paper stencil. And the foreground in thin oil paint due to a longer drying time and plyablility.

On Mum's Birthday - Oil on Canvas 92x141cm

Daler and Rowley made canvas, bought during lockdown to suplement the sheer size on the hand made ones we make at wimbledon. The truth is in the name!

'Thou Shalt Not Litter' - Oil on Canvas 2x2m

Copeland Gallery Show-Case, 13th of Feb 2020, Framed for protection during transit. Painted from imagination and emotional concern; hence littering and cavas orientation, also bubble wrap damage, seen in the 'immersion' page.

Out of gallery