COASTAL PATHWAY: AN EXPLANATION OF THE PAINTING PROCESS

Coastal Pathway:

The Coastal Pathway painting developed on site, with me observing a gravel path, in the background of the coastline at Skegness, which meandered its way through the dunes and around the trees and bushes at the edge of the land. There was just something about it leading you on a journey, and the position of it in regards to the fields or dunes and the sky and trees was to the far right, so it created an interesting composition in my mind, one that would lead you into the distance.

Initially I began with a canvas from the previous year, so the size of 120cm x 90cm was predetermined, however I believed that it would suit the composition and the shape was almost like a scaled up version of the onsite piece that it would correspond to anyway, so I didn't feel that there was any major issue with it.

I started by creating some marks on the canvas, dripping paint onto it, creating an inspiring background, this was before I knew what I would paint upon it. However my ideas seemed to develop quite quickly, in regards to me realising that this was the onsite piece that I thought would sit right on that canvas.

I believe this was the first piece where the paint really started to get a lot thicker, and I did think I was in danger of it being overworked and just a mess, though I am surprised that with some more precise palette work it has developed far better visually than I thought. In this one the mark making is less adventurous or varied, though it creates an interesting contrast in design to the other pieces, I've also hardly scraped away at the paint, I think in the end I realised that perhaps is was destined to be a bit more heavily built up and has provided me with further feedback for my schema, which I can and have progressed with in more current works.

Am I happy with it, I would say satisfied, it clearly portrays the narrative, perhaps areas could have been even more defined, though that simply the contrasting process that has taken place within this piece, I believe.

Email: paintingtheland@hotmail.com

Twitter: https://twitter.com/PaintingTheLand

Blog: https://paintingtheland.blogspot.com

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Website: www.danielgoodchild.com



Coastal Pathway 2014, Oil on Canvas

THE MERGING OF WATER & LAND: AN EXPLANATION OF THE PAINTING PROCESS

The Merging Of Water & Land:

The Merging Of Water & Land was created after a period of wet weather swept its way across Lincolnshire. The nest day was slightly brighter and I had planned to create some on site paintings, for this particular day I was visiting the West Common area.

The scene in question caught my eye as I was searching for perspectives of intrigue. With this scene you had the woods in the background, with the sky above, the grassy fields further in the foreground and two puddles of water saturating the ground in the middle of the space. I simply thought that it had so many aspects open to the eye, many areas to transcribe, I thought that it would create a piece where your draw all over the painting, always becoming more inquisitive, the more you glance at it.

I decide to change the size of this piece from the 240cm x 180cm of The Blue Elephant in the Natural, to more of identification with the true landscape panorama, at 240cm x 90cm. I don’t believe that the scale of the previous is inaccurate, as it suits the proportions of the subject matter and in this case it would link each section of the land more closely, unifying it better.

Throughout the process I developed the techniques that were open to me, trying to emphasise the possibility for mark making, scraping away at areas when dryer to create texture and to reveal some interesting visuals underneath, hidden gems, as well as breaking up the boldness of some areas.

The water was a particular area to get right, not only the colours, but how much would be revealed, after all it is the merging of the water and land and so there needed to be a balance. Ultimately I am happy with how it progressed, there was a lot of subject matter to cover and make sure that it was represented through the accurate colouring and the most appropriate texture that would suit it.

In terms of when I thought it was ready to be left alone for a while, it emerged when I was adding to the outer layers, the grassy field, when I felt that the detail of the surrounding areas was in danger of overpowering and the ideas of sparsity and density balance, was instigated.

Email: paintingtheland@hotmail.com

Twitter: https://twitter.com/PaintingTheLand

Blog: https://paintingtheland.blogspot.com

Google +: https://plus.google.com/u/0/110371444250404026212/about

Website: www.danielgoodchild.com

The Merging Of Water & Land 2014, Oil on Canvas

THE BLUE ELEPHANT IN THE NATURAL: AN EXPLANATION OF THE PAINTING PROCESS

The Blue Elephant In The Natural

Firstly let begin with the explanation of the profound and quirky title. The name of the piece is rather metaphoric, when I was at the coast in Skegness, I saw a boat yard which was surrounded by these steely blue railings and at the time I was trying to capture more of range of narratives, which included capturing some man-made features within the natural.

The impression I got was of these cumbersome, ugly metal railings in amongst this natural beauty, which was being lost in the translation. I thought of a large clumsy elephant simply sitting there, not realising that it was distracting from what was around it, not acknowledging that it was, perhaps, drawing some focus away from the complexity and beauty of the natural landscape which failed to engulf it.

I chose the En Situ piece, of similar title, to work form initially, because I thought that the composition was quite striking, the spaces seemed to work really well with each other, the sky, the sandy pathway, the railings and I was quite excited for it to be the first one to transcribe from, with the adoption of this new thought process on the development of a painting and the visual journey of a painting.

The painting itself has adopted the more spontaneous style which I addressed, and so there’s little to comment upon the progression really, it has been more of a visual progression for each of the larger pieces. One thing to note is that I do begin by looking at the structure and the basic principles of the En Situ piece, however as time transgresses, a more organic process exudes and it really becomes more about being daring and seeing what might work and detracting from what we realise won’t.

There comes a stage when I say to myself, ‘Is there anything you could add to the painting, that would enhance the visual narrative, beyond what can already be comprehended’, if this turns out to be a satisfied not really, then I assume the role of moving swiftly on to the next project, there will always be a stage to come back an reflect upon the decision further, though I have realised that the painting needs time to breathe, to settle and allow everything to be digested.

As of yet, since the time when I left the painting, I have not ventured back to change anything, I believe now, it is what it is meant to be, I don’t think that should be challenged, with the possibility of over elaborating the visual which is very simple and honest and has the integrity it deserves, so deliberating if there’s anything I would change about it or the process, I would have probably liked to work outside on it, it was created in the studio, but then I may not have achieved a similar visual, I believe that it can relate to the smaller version, though expands quite dramatically from it, which is what I envisaged it progressing towards.

Email: paintingtheland@hotmail.com

Twitter: https://twitter.com/PaintingTheLand

Blog: https://paintingtheland.blogspot.com

Google +: https://plus.google.com/u/0/110371444250404026212/about

Website: www.danielgoodchild.com

The Blue Elephant In The Natural 2014, Oil on Canvas

EXPERIMENTAL TEXTURE & MARK MAKING PIECES

EXPERIMENTAL TEXTURE & MARK MAKING PIECES

Visuals of experimental pieces are now presented. Alongside the large scale Landscape paintings and En Situ pieces, a couple of smaller alternative abstract pieces have also been created. They explore a manipulation and playfulness of oil paint, still encompassing landscape colours and possible details and forms, though it remained very much about building up the layers, texture, detail and observing how densely these aspects of intrigue could become visually.

They were created with dried scraped oil paint from the palette, as well as fresh oil paint and linseed oil on canvas, utilising the artist’s tools of palette knife and brush.

Email: paintingtheland@hotmail.com

Twitter: https://twitter.com/PaintingTheLand

Blog: https://paintingtheland.blogspot.com

Google +: https://plus.google.com/u/0/110371444250404026212/about

Website: www.danielgoodchild.com

PAINTING PROGRESSION

PAINTING PROGRESSION

Painting Progression imagery for the large scale pieces Out To Sea & Lone Beach Hut can now be found online @ www.danielgoodchild.com

Email: paintingtheland@hotmail.com

Twitter: https://twitter.com/PaintingTheLand

Blog: https://paintingtheland.blogspot.com

Google +: https://plus.google.com/u/0/110371444250404026212/about

Website: www.danielgoodchild.com

DEGREE SHOW EN SITU PIECES

DEGREE SHOW EN SITU PIECES

Hello fellow artists and art appreciators, as part of my Blog and Twitter page, both of which can be accessed through my website www.danielgoodchild.com, I'm presenting a selection of brand new En Situ pieces, created especially for our degree show. 

Each of the eight pieces are created with acrylic on wooden board, with four depicting scenes of the Lincolnshire coastline and four depicting scenes of the Lincolnshire countryside. 

This is their exclusive online release.  

Thank You & Enjoy

Daniel Goodchild

Email: paintingtheland@hotmail.com

Twitter: https://twitter.com/PaintingTheLand

Blog: https://paintingtheland.blogspot.com

Google +: https://plus.google.com/u/0/110371444250404026212/about

Website: www.danielgoodchild.com