Category Archives: Making

Triptychs

After working on Winter Light 1, 2 and 3 which are designed to be shown together or separately I developed some pieces specifically as triptychs. I am also planning a much larger series of pieces that can work in combination or individually, as well as some larger landscape format paintings, but in the meantime I’m enjoying the quiet strength in the number three.

These paintings continue to explore mark making directly onto hand stretched raw canvas by dripping and/or painting and/or scraping emulsion paints. Each triptych consists of three canvases that are 41 cm wide by 31 cm high.

Winter Light 4

winterlight 4 crop

Grey flow

grey flow crop

Red Orange Rhythm

red orange rhythm crop

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Spot the difference

As I’ve written before it’s often tricky to know when something is ‘finished’. For a while I’ve felt there was something not yet right about this circle grid; I think it finally feels resolved now.

Making it personal

I really enjoy making pieces with people or places in mind. This pair will be going to Manpreet and Ashley in January. Best shown together they could also be hung separately.

In this work I’m continuing to explore working directly onto untreated fabric. I’ve chosen to stretch coloured cotton so that the canvas is more obviously a part of, rather than read as ‘only’ a support/background to, the painting. Each painting is 33cm x 22 cm.

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Winter light

I recently made a series of paintings influenced by the impressions left by winter light during walks. I chose to develop these paintings on raw canvas that I’d stretched, making the mark-making all the more vital as mistakes can’t be painted over.

Each painting is 50cm wide and 40cm high. My intention is that they can be hung together or individually. I’m delighted that one of these will be shown at Hot Numbers from 12 December 2017 until February 4 2018.

winter light_cropped

winter light 3 detail_cropped

Work in progress

It’s always difficult to know when an artwork is ‘finished’. I need to keep some paintings around me for a long time in what I know is an unfinished state before it’s clear to me what I need to do next. This painting was originally done for an exhibition at Espresso Library in Cambridge in response to the space there; however once the exhibition was over I knew I had more work to do as I kept dwelling on the work, itching to make it feel complete. This is the final result.

blue gray circles grid

New commission

I’ve been having fun working on a new commission, in this case adapting a couple of the pieces that were shown at Espresso Library from mid-May to early July. I’m really pleased with how they’ve developed in response to how they’ll work alongside other features of their future home, taking on more vibrancy and movement in the process. I think they are at the stage now of feeling ‘finished’.

The images below show some close-ups and the piece(s) as they currently stand on my ‘work in progress’ wall which is just over 2m wide and is directly in front of my desk. A good use of space, this allows me to contemplate about how work is progressing while seeing it in a domestic setting, which I find extremely helpful… and shows that you really don’t need a lot of room to be able to enjoy art that can make a real statement and transform a space.

Untitled Artists Fair

I’m busy making yet more new work to show at Untitled Artists Fair in London in a couple of weeks. The opening night is Friday 3rd of June and the fair will be open until Sunday afternoon. I’m looking forward to seeing lots of different styles of work and meeting the artists. You can download free tickets or request some direct from me via art@emilyjolley.co.uk

A sneak preview of one of the paintings in progress:

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Testing

Smaller work testing colours and formats.

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Emulsion and acrylic on board

20cm x 20cm

 

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Emulsion on board

20cm x 20cm

Repetition

I often return to grids and mixed media in my work, getting to know new materials and letting those materials make the marks.

I produced several pieces that involved cutting up material and sewing it back together. Some included elements of painting or drawing. In each case though of most interest to me were the imperfections within the repeating structure, and the shadows and movement created in hanging as only the top row of the work is attached to the wall.

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Approximately 80 x 80 cm

PVC and cotton

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