Gary Hume

I had a look at Gary Hume for his use of glossy house paints and the techniques he used to achieve such a nice and smooth finish to his large paintings.

He says "I use Dulux paint because its fluid and it sets, its sorta standard and recognized, its sorta of a mundane stuff that we all have old pots of it under the stairs and when you make a painting from it, it becomes beautiful it transforms itself from a mundane object to a beautiful object." i think this is partly why i liked the idea of using glossy house paints because no one really thinks of using them for painting pieces with.

i really like the way he works because there is a lot more to it then just colors and random shapes he actually looks at lots of different aspects and puts it all into a simple glossy color painting which i find interesting. This is what i need to do more of and get in the habit of actually having some sort of meaning or story behind my paintings because when i finish them and someone asks what its about i feel embarrassed too say that its just random blobs of paint and just did it for the sake of it.

http:/http://www.tate.org.uk/art/artists/gary-hume-2403

http://www.tate.org.uk/whats-on/tate-britain/exhibition/gary-hume

Ian Davenport

Straight away i am excited and mesmerized by these stripy paintings and especially like the way he lets it carry on down onto the floor in some cases. It just shouts out to me and is very similar to what i did for one of my pieces. Ian goes further by using syringes to pour out the glossy house paints down the stainless steel plates, something i've wanted to do is pour paint onto metal with glossy paints.

Really amazing pieces from this guy! he did a massive piece on Southwark Bridge title "poured lines", which just looks so cool and great place to put it up i think works very well where it is. must remind myself to go have a look next time im near there! http://www.telegraph.co.uk/culture/art/3654625/Dance-to-the-music-of-lines.html

this piece is very interesting as it actually has different looks through out the day, "In the morning, the work is dominated by the yellow stripes. In the afternoon, the pinks and purples start to come through more". as said by the university of Warwick. this makes it so much more interesting and adds more indepth about what it actually is, because at first you just see lines but if you keep on looking you get more and more pulled into these types of pieces and i like this alot. 

http://www2.warwick.ac.uk/services/art/artist/iandavenport/wu0817

There is a great interview here on Ian Davenport and how he works, really interesting stuff and some of it i might have to try out for myself now! I found one bit very interseting as he says for hes choice of colors to use for his piece that he got his color pallete from the opening of the simpsons, how random is that but cool. - http://www.theguardian.com/artanddesign/2009/sep/20/guide-to-painting-ian-davenport

http://saltbridges.bioch.ox.ac.uk/westendwall.html

Morris Louis

Already i am seeing some similarities with this person regarding his practice,

"Since Louis did not sign, date, or title paintings unless they were released for exhibition or sale, most of the stored canvases bore no inscriptions. Furthermore, since he painted with his canvas tacked to a temporary work stretcher, rolled paintings when they were dry, and determined precise dimensions only when pictures were stretched for exhibition or sale, even the exact dimensions of the paintings that formed his estate were uncertain. And the intended hanging orientation for some paintings was unclear because he had demonstrated some flexibility in regard to that issue when he was alive. Added to the magnitude of possible questions this situation raised for the advisors to the Louis Estate was the fact that Louis had kept no records, diary, or notes relating to his paintings".

This is very much like me when im working on pieces im not sure why he does this but neither am i.

 He tacked the canvas to a work stretcher and poured the paint from top to bottom (using both matte and glossy paints), draining the excess off along the bottom, this worked very well by the looks of it and i like how clean and simple it looks because it seems like it be hard to get a crisp hard line finish between the colors, alot of control and patience was needed for this by the looks of it.

 When Leonard Bocour first saw Louis’s Stripe paintings in 1961, he was overwhelmed by the artist’s ability to maintain the equal intensity and saturation of each stripe along its entire length, a feat Bocour could not duplicate when testing the paints for these same qualities. He recalls asking Louis how he had achieved such results, to which the painter reportedly replied, “You got something to say, you say it.”

I love the reply that Morris gave here seems like something id say.

for an early painter as Morris, i think these paintings are great and unique i really like the intensity and sharpness of each different color and i didn't expect to see something like this from an early painter from 1962!

http://www.tate.org.uk/art/artists/morris-louis-1527

http://morrislouis.org/morrislouis/page/emergence_of_morris_louis

Bit boring but interesting documentary here, very interesting nearer the end.

http://morrislouis.org/morrislouis/page/documentary