PAINTERS PALETTE SERIES: IMAGE THREE

PAINTERS PALETTE

Hello fellow artists and art appreciators, I'm now presenting a new series of images as part of my Blog and Twitter page, both of which can be accessed through my website www.danielgoodchild.com.

This series directs its focus towards the humble painter’s palette, re establishing this essential painter’s instrument, as a work of art in itself, in fact, some of the imagery concerned, becomes even more insightful and imaginative than the actual painting itself.

The more I explore the manipulation of oil paint, experimenting with the colours and the viscosity, the more intriguing the painters palette becomes. The marks, are perhaps more accidental, than upon the actual painting itself, though this provides a spontaneity and the painters palette becomes an intrinsic aspect of the painting process, which is clearly evident through this subsequent series, as the colourations and the texture of paint converge together and depict the inner psychology of the artist, in the journey of a thought process, which remains completely and utterly concerned with PAINT.

I hope to realise a new image each day, which will amount into a visual journey and narrative of the confessions of A PAINTERS PALETTE.

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 

The Merging of Water & Land 2014: Painters Palette Series: Image Three

PAINTERS PALETTE SERIES: IMAGE TWO

PAINTERS PALETTE

Hello fellow artists and art appreciators, I'm now presenting a new series of images as part of my Blog and Twitter page, both of which can be accessed through my website www.danielgoodchild.com.

This series directs its focus towards the humble painter’s palette, re establishing this essential painter’s instrument, as a work of art in itself, in fact, some of the imagery concerned, becomes even more insightful and imaginative than the actual painting itself.

The more I explore the manipulation of oil paint, experimenting with the colours and the viscosity, the more intriguing the painters palette becomes. The marks, are perhaps more accidental, than upon the actual painting itself, though this provides a spontaneity and the painters palette becomes an intrinsic aspect of the painting process, which is clearly evident through this subsequent series, as the colourations and the texture of paint converge together and depict the inner psychology of the artist, in the journey of a thought process, which remains completely and utterly concerned with PAINT.

I hope to realise a new image each day, which will amount into a visual journey and narrative of the confessions of A PAINTERS PALETTE.


Thank You & Enjoy

Daniel Goodchild

Email: dangrahamgood@hotmail.co.uk

Twitter: https://twitter.com/PaintingTheLand

Blog: https://paintingtheland.blogspot.com

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

Website: www.danielgoodchild.com 



A Collection of Trees 2014: Painters Palette Series: Image Two

PHOTOGRAPHY TO EN SITU & DAVID HOCKNEY

PHOTOGRAPHY TO EN SITU & DAVID HOCKNEY

Photography used to be instrumental, in processing visually, the first contact between the Landscapes and deducing a concept behind the production of a painting. However this process has developed for me over recent years, towards En Situ painting and with it, the adoption of a far more organic approach, to experiencing and representing the land, through visual interpretation.  I'm able to perceive the Landscape at its highest most poignant reality, which the photograph merely distils.

En Situ, the Landscape artist is open to the natural elements and the atmosphere, becoming far more integrated into the decision making, the emphasis of eliminating the surplus extraneous variables, leaving behind the necessary, with what it perceived to be the ultimate, in terms of narrative of their journeys and explorations.

The challenge of painting En Situ is harder than one might think; there is a necessity to learn patience, not only in an adaption to this new Land, which prescribes numerous exploration to comprehend it, but patience with the process of painting, it may not come to fruition straight away; and the artist must study and assume the role of the flaneur, being forever inquisitive about their surroundings, until, finally they may obtain the ability to respond succinctly to the Land surrounding them.

The attention devoted towards the actual painting is extensive, the perspective and composition takes a lot of the artist’s focus, to try and provide accurate foundations, from which colour detail and mark making can be intensified.

However the more time and concentration the artist devotes to these En Situ representations, the increased knowledge of what it means to represent the Land and how to represent it is elaborated, and with further practice and engagement, the En Situ studies become more intricate and a truer depiction of reality. As I have witnessed, my larger studio pieces have become more challenged in their aesthetics, a freer approach has been adopted, they are less restricted to simply re representing what has already been accounted for, they expand upon it.

There has been a role reversal between the scales of the visual outcomes. The smaller En Situ pieces have become more particular, intricate and accurate and the larger pieces have become more abstract and dynamic. I believe this is an effective change, the En Situ pieces need to condensed full of insightful information, about the landscape which I have explored, so that as much visual material, as possible, is available for me to utilise. The more painting I carry out En Situ, I become more self-assured of my actions and so the most recent ones show this more confident approach.

The larger pieces, as a result, have had to emphasise the formal qualities of composition and structure a lot less, you already have an incredibly detailed and accurate view from the smaller pieces and so this has allowed me to think less about the final outcome being a direct representation and allowing more of an interpretation. To try and engage more inquisitively with colour, form, shape, composition, texture and the layers of the land, in a way it becomes more adventurous, because there’s less restriction and so every mark is to narrate a completely different visual to that of the En Situ piece it corresponds to. They aim to incorporate the basic visuals, it’s still familiar, though an imaginative expansion, whereby the possibilities are less final and distinctive, it becomes a far more elaborate engagement with paint, from which a final outcome will come to fruition.

Photography still plays an integral role in the development of the painting, photographing the paintings throughout, gives me an impression of how they are progression, and perhaps a more objective focus on what aspects might need developing further. Furthermore I've been able to really document the painting process and the fun that I'm having with the exploration and manipulation of the paint, as shown in the PAINTERS PALETTE SERIES.

The man-made process of photography is better acquainted to this documentation aspect, especially in regards to painting, it allows for the artist to utilise, as a means of communication, with the man-made process of painting. Rather than compressing the natural Landscape and reducing it to a ‘sum of its parts’ methodology, through distilling it, as photography of the landscape often does, it can be used to represent a painting, because the enormity of a singular painting, is by no scale, as vast as the enormity of landscape, so the painting isn't perhaps lost in translation, or becomes as much a totality Detotalized, as the real landscape would become through photograph.

DAVID HOCKNEY: INSIGHTFUL QUOTES

Martin Gayford, A Bigger Message Conversations with David Hockney (London: Thames & Hudson, 2011), 53.

“We think that the photograph is the ultimate reality, but it isn't because the camera sees geometrically. We don’t. We see partly geometrically but also psychologically. If I glance at the picture of Brahms on the wall over there, the moment I do he becomes larger than the door. So measuring the world in a geometrical way is not that true.”

Martin Gayford, A Bigger Message Conversations with David Hockney (London: Thames & Hudson, 2011), 50.

“I always knew that you couldn't draw from them very well, because you couldn't see and feel volume in the same way you can in life.”

Martin Gayford, Introduction to A Bigger Message Conversations with David Hockney (London: Thames & Hudson, 2011), 11.

“A two-dimensional surface can easily be copied in two dimensions. Its three dimensions that are hard to get onto two. That involves making a lot of decisions. You have to stylize it or something, interpret it. You've got to accept the flat surface.”

Thank You & Enjoy

Daniel Goodchild

Email: dangrahamgood@hotmail.co.uk

Twitter: https://twitter.com/PaintingTheLand

Blog: https://paintingtheland.blogspot.com

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

PAINTERS PALETTE SERIES: IMAGE ONE

PAINTERS PALETTE

Hello fellow artists and art appreciators, hope you all had a Happy Indulgent Easter. Today I present a new series of images as part of my Blog and Twitter page, both of which can be accessed through my website www.danielgoodchild.com.

This series directs its focus towards the humble painter’s palette, re establishing this essential painter’s instrument, as a work of art in itself, in fact, some of the imagery concerned, becomes even more insightful and imaginative than the actual painting itself.

The more I explore the manipulation of oil paint, experimenting with the colours and the viscosity, the more intriguing the painters palette becomes. The marks, are perhaps more accidental, than upon the actual painting itself, though this provides a spontaneity and the painters palette becomes an intrinsic aspect of the painting process, which is clearly evident through this subsequent series.

As the colourations and the texture of paint converge together and depict the inner psychology of the artist, in the journey of a thought process, which remains completely and utterly concerned with PAINT.

I hope to realise a new image each day, which will amount into a visual journey and narrative of the confessions of A PAINTERS PALETTE.

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

A Collection of Trees 2014: Painters Palette Series: Image One

HAPPY EASTER: PAINTING PROGRESSION: COASTAL PATHWAY 2014: IMAGE SEVEN (THE CONCLUDED VERSION)

PAINTING PROGRESSION


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 series of images, which depict the painting progression, the beginning formation of the painting, onwards to a more completed aesthetic philosophy

The first in this series is the progression of the painting Coastal Pathway 2014, which derives its imagery from one of the En Situ pieces of similar title.

These images are yet to be released to my website, so remain and exclusive insight for all Twitter and Blog users. I hope to realize a new image each day, which will amount into a visual journey and narrative from beginning to end.

I hope you've all enjoyed the series, this image depicts the more concluded version, thus far, though as you all may know, with a painting, it's always difficult to strike a balance between progressing to far with it and it being lost in translation, so lets proclaim that this is the cooling off period, for it to breath and find it's position amongst the other pieces.

Please keep following, I shall be returning with further painting series, including some rather beautiful shots of the artists palette, especially with the flash on, the paint glistens with the linseed oil, they almost become works of art in themselves, so please wait in anticipation of the PAINTERS PALETTE SERIES.

Thank You & Enjoy

Daniel Goodchild

Email: dangrahamgood@hotmail.co.uk

Twitter: https://twitter.com/PaintingTheLand

Blog: https://paintingtheland.blogspot.com

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

Website: www.danielgoodchild.com 


Coastal Pathway 2014: Image Seven (The Concluded Version

PAINTING PROGRESSION: COASTAL PATHWAY 2014: IMAGE SIX (A SNEAKY CLOSE UP SHOT)

PAINTING PROGRESSION


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 series of images, which depict the painting progression, the beginning formation of the painting, onwards to a more completed aesthetic philosophy

The first in this series is the progression of the painting Coastal Pathway 2014, which derives its imagery from one of the En Situ pieces of similar title.

These images are yet to be released to my website, so remain and exclusive insight for all Twitter and Blog users. I hope to realize a new image each day, which will amount into a visual journey and narrative from beginning to end.




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

Coastal Pathway 2014: Image Six (A Sneaky Close Up Shot) 

LINCOLN UNIVERSITY FINE ART DEGREE SHOW


LINCOLN UNIVERSITY FINE ART DEGREE SHOW

We're all getting very excited to present up to 60 amazing works, as the culmination of three wonderful years at Lincoln University, studying a Fine Art BA (Hons). Please click on the invite above, for a direct link to our website www.translatedthoughts.com, where further information can be found on all participating, with further links to our face book and twitter pages. There's also an email contact to confirm an attendance at the private view on the 30th of May from 6-9PM.

From the 30th of May until the 16th of June, it becomes a fantastic opportunity to observe highly accomplished artworks and meet the artists.

Many Thanks



Daniel Goodchild