This is a collaborative painting composed by myself and my partner. We had allowed there to be a half hour time scale, Leon starting the painting and me finishing it. We were both familiar with the object we had painted and wanted to discuss the visual narrative we could communicate through touch and memory; especially seeing as we both have aphantasia which is something that involuntarily disallows you from forming mental images of objects that aren't present. The painting was guided as we do not have the technology nor the nuances to paint without some form of verbal orientation and so we did just that. I find the result to be quite abstract in its approach and certainly not resemblant to its subject matter, though I can't say I’m disappointed as we both found the experience and the outcome to be intriguing.
Guiding each other could be somewhat frustrating in having to refrain from moving the persons hand to the desired place, and orientate the canvas from your perspective where the other was to go next. Though a somewhat comical experience, I found the process to be quite interesting, especially given mine and Leons struggles with conjuring a mental image.
The experiment permitted the development of utilising the hands as a valid tool in illustrating an observational painting. Leon and I found the collaborative experiment to have been beneficial in regards to remembering the form of the object we had felt prior to painting, and reiterating that remembrance across the canvas. We found the perspective of the painting to be askew and the navigation of the canvas itself was somewhat difficult. ie. recalling the placement of the paintbrush. Though we were guiding one another in conjunction with the palette, the canvas placement was of the painters will, the guide would intervene only when the painter had strayed away from the canvas ie. Leon almost going for the carpet!
Had I the resources and medium mixers, I would have loved to create raised lines to paint within, employing the methods of John Bramblitt. Unfortunately due to COVID and the restrictions put into place, orders are backed up and none essential shops are not open. I may try this experiment again over the continuation of the project, as to provoke a new range of mediums and perspectives.
Having documented this collaboration, myself and Leon have noticed a true juxtaposition of perspectives and proportions within the piece. The piece displays a multitude of abstract characteristics; given it had been painted in an action painterly manner, and the subject of the painting resembles a surreal, conceptualised form rather than an alacorn soft toy. In regards to exhibiting this blind painting, I think having a whole wall or room, completely void of colour should be the canvas for the public. Multiple blindfold stations, pick a wall and paint. Participation even on a small scale can assist in delivering a great message, regardless of how long the message may take to be received we will prevail. Not to mention, collaborative activities such as this, commercially attract a wider spread audience due to there being opportunities for families to bond. Moreover, art of which you can interactive with introduces an element of play and due to our naturally inquisitive nature as humans, we can't help but join in. Risk of judgment of participation is eliminated due to the fact that the participators will be blindfolded, so I imagine this could have great success within a gallery space such as Tate Modern. Key Thoughts -
> Navigating the paint brush was difficult given that the surface was flat.
> Proportions enlarged or minuscule contrary to the subjects belief when transversing over the paper.
> More concentrative on the object, utilising the hands and observing the subject through the sense of touch.
> Fun activity to put into practise.
> No criticism or self doubt over the art work, allowing the piece to be truly gestural and fluid.
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