Colour and Abstraction by George Blacklock

Author:George Blacklock
Language: eng
Format: epub
ISBN: 9781785000324
Publisher: Crowood

Untitled Blue. The blue shapes are made by turning a fully laden brush (around 2 or 3in wide, so a lot bigger than easel painting brushes) of blue on to a ground colour – I think this was a darkened grey colour. Then a white opaque paint, thickened with the cold wax, a little linseed oil and some turpentine (to get the right mixture) was applied using my French decorator’s scraper – used like a squeegee in effect, but more manageable in how it can turn and cut through the paint. As you can see, some of the blue shapes are all but painted out, others survived the skin of paint more readily, some were blurred by the process, and some of the blue was spread into the white. This process was redone – the blue shapes applied and the surface scraped over them – until I was satisfied with the result. I remember in this instance I reapplied a few blue shapes again as the last action of the painting. This allowed the blue shapes to exist on several levels within the matrix of the painting. I was reading Dante’s Inferno at the time and was interested in the sense of a frozen, ice-bound reading of the central shapes and how this related to the way Michelangelo’s sculptures seemed to escape from the block as he worked (as can be witnessed in what we call the ‘prisoners’ or ‘slave’ sculptures in the Accademia Gallery in Florence).

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