Studio Research - Week 9 / by Ally McGinn

This week has been primarily involved in considering opinions for a crit next week, working in the workshops (please see 'reading a painting' post) and seminars and reading.

 Ally McGinn (2017)  Grey.  Paper, canvas, paintbrush and glass. Size varies.

Ally McGinn (2017) Grey. Paper, canvas, paintbrush and glass. Size varies.

 Ally McGinn (2017)  Grey.  Paper, canvas, paintbrush and glass. Size varies.

Ally McGinn (2017) Grey. Paper, canvas, paintbrush and glass. Size varies.

 Ally McGinn (2017)  Untitled.  Pigment on canvas [Installation detail]. size varies.  Reconstructed canvas with pigment. A painting.

Ally McGinn (2017) Untitled. Pigment on canvas [Installation detail]. size varies.

Reconstructed canvas with pigment. A painting.

 Ally McGinn (2017) Studio view.  When I removed all of the works from the wall, as I often do (much to the surprise of my studio colleagues who assume it is out of some sense of annoyance on my part. It's not. I'm simply turning to a fresh page of the sketchbook.) I was struck by the positioning of screws on the wall.  When moving into a new space, one that has been previously occupied by another artist, I place screws into places they have been before. I occosiaonally place other screws, when the posititioning of the work demands it.  With all the screws from a complicated installation laid bare, I realised I wanted to highlight them.  These threads are a reconstructed canvas. Reconstructed from some perspectives.  It is more about the placement of the threads than any conversation about them. They are a unifying element, one of three I suppose. The threads, the screws, and the holes in the wall.

Ally McGinn (2017) Studio view.

When I removed all of the works from the wall, as I often do (much to the surprise of my studio colleagues who assume it is out of some sense of annoyance on my part. It's not. I'm simply turning to a fresh page of the sketchbook.) I was struck by the positioning of screws on the wall.

When moving into a new space, one that has been previously occupied by another artist, I place screws into places they have been before. I occosiaonally place other screws, when the posititioning of the work demands it.

With all the screws from a complicated installation laid bare, I realised I wanted to highlight them.

These threads are a reconstructed canvas. Reconstructed from some perspectives.

It is more about the placement of the threads than any conversation about them. They are a unifying element, one of three I suppose. The threads, the screws, and the holes in the wall.

 Ally McGinn (2017)  Untitled.  Photographs, basket and labels. Size varies.  This piece is an overly literal representation of the commercialism of the art world. My practice for sale.

Ally McGinn (2017) Untitled. Photographs, basket and labels. Size varies.

This piece is an overly literal representation of the commercialism of the art world. My practice for sale.

 Ally McGinn (2017) Studio view.  I adore the intensity of the light in the studio in the mornings.

Ally McGinn (2017) Studio view.

I adore the intensity of the light in the studio in the mornings.

 Ally McGinn (2017) Studio view.  Final set-up for the week. My plan is to explore photos of this set-up over the weekend to decide on the final adjusments before crit on Monday.  EDIT - I changed a few elements, taking the two paintings on the left off the wall, I placed them on the floor. I added a pencil line on the wall and to  Reflection.  Which I think finishes the piece. I also added three drill holes to the wall, which look unintentional but are completely aesthetic. 

Ally McGinn (2017) Studio view.

Final set-up for the week. My plan is to explore photos of this set-up over the weekend to decide on the final adjusments before crit on Monday.

EDIT - I changed a few elements, taking the two paintings on the left off the wall, I placed them on the floor. I added a pencil line on the wall and to Reflection. Which I think finishes the piece.
I also added three drill holes to the wall, which look unintentional but are completely aesthetic.