Mounting the paper casts onto the wall gave me the result I was looking for. They looked like finished, established works. Easy observation. I think we get a better sense of the structure but also the painting itself. The forms are still identifiable. The paintings still suggest the use of the everyday objects. (Lefebvre's influence, impact of COVID on working space). You can still the routes. (Debord's psychogeography, method of autoethnography). As it works well in the house and I imagine, would work well in a gallery space. I've shown the adjustments made to still be able to present work formally within the constraints of my home. This is the only white wall in my house. So I'm confined to one space for documentation and presentation.
As much as I like these pieces, I still think there's room for refinement. Although the paper holds itself structurally, I think if I'd used canvas, then it reinforces the idea that it is still supposed to be a painting.
Thinking about Sam Gilliam's abandonment of stretcher bars, I plan to paint onto canvas and present in the same way as the paper versions.
Front facing view:
Left:
Right:
Right again, but different perspective:
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