As I've started incorporating everyday objects into this body work, I started researching methods on how to go combine this with my painting. I came across Hayley Tompkins work and her series, 'Objects.' Using found objects themselves as a surface to paint on. This series was the direction I wanted to take my works into expanded painting. But I do like having the idea of making a surface, like plaster, fabric or paper. Like a traditional painting. Whereas, does painting directly make it just a painted sculpture? And not expanded painting. This definitely got me thinking about my process more in depth. What are and are there boundaries to expanded painting?
In conversation with Joe Scotland, she is asked about the relevance of time in her work. To reiterate, time was important for my choice of colour. The morning glow of the sun and against the blue sky, and its reflection on stone buildings.
'Time is there, embedded in everything. It is like the data of the work. I have a sense of what I'm doing is mostly about looking and seeing into something or between things. Looking for a likeness. I agree with you, there is little stillness anymore, no stopping.' (Tompkins, 2013)
I feel I could relate my practice and theory here. Considering Lefebvre's theory of the everyday, time never stops, nor the changing everyday. Time is one of the ways we record or work. Also, looking into something or between things. Adopting an interdisciplinary form of research, autoethnography and psychogeography. Finding the links between them and why they are important for this research. Using psychogeography to produce autoethnographic artworks.
The Modern Institute. (). Hayley Tompkins. Available: https://www.themoderninstitute.com/artists/hayley-tompkins/works/key-works-2015/90/. Last accessed 28th Feb 2021.
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