The under layers of a new work.
I like documenting work in progress. It’s all part of the digital revolution. A hundred photos taken every day of anything from a stain on concrete to an interesting fold in a bag. So why not photograph every mark in a painting?
I think I do it because I live the raw look of the intuitive free early stages where anything can be done because no real time has been invested and you can paint over anything.
Of course, you can do thus at any stage anyway, but somehow we (artists generally??) don’t. We get more precious as the work proceeds. Perhaps. I shouldn’t generalize, since I can’t even generalize about my own approach.
But my increasing experience and practice of seeking failure through constant active risk-taking hopefully means I can progress this work as I start it.
It’s a subject idea I’ve had festering for a year. So the idea has a preciousness, a feel to it, which generates some pressure.
We shall see.