After the apparent failure of the 2 experiments of making the diptych for our shows I decided to sit down and do some thinking as I was getting concerned that if I was to use oil paints for my work I need to ensure they are dry before showing my work.
I had placed both the orange and green paintings together but they just did not work together. It was then that I realised that the warmth of the fluorescent orange was what really complimented the grey tones and made them jump from the canvas. The fluorescent green just made them look cold, clunky and lifeless. Oddly, this could be a positive when trying to explore Brutalist themes in the medium of paint but I did not see any point in deliberately making a painting that does not appeal to me at so a late a stage in the year.
I then decided that I could actually display 2 orange paintings at the shows. Originally I thought that one on its own would not be strong enough as a main piece hence the idea of a diptych. If one orange painting would work then would 2? or even 3? I made the sketch above to give me a visual representation of my idea of a triptych of orange paintings. This is also drawn using the dimensions I had in mind for the canvases. However, the triptych looked a little too much like tower blocks for my licking. I know my work is informed by tower blocks but its very important for me not to make them look too much like the subject matter. I decided that the triptych just was not going to work so considered a diptych.
For this experiment I decided to make use of photoshop to aid in my visualisation. Photoshop is something I (and maybe all) painters should use more often as it is a good way to get a visual of any ideas you are having. In this instance I took my original orange painting and stretched it out to the rough dimensions I had in mind for freerange. I then duplicated the image and placed both, side by side in the space I had earmarked at freerange. I also trip a single and triptych version just in case but the diptych was by far the strongest in visual terms. I can really imagine now exactly how these would look at freerange.
Using photoshop also allowed me to place the paintings on the wall with a view to how they will sit with regards the electrical piping and rail at the top. I don't think I can get away with trying to cover the electrical piping with my paintings as you will still see them at the sides. Even if I did the actual power socket would be sitting slap bang in between the works as conveniently it is placed at the mid way point on the wall. After some experiments I decided that I need to get about 10 inches gap between the tops and bottoms of the canvases so there is some wall showing before the "furniture" of piping and rails. This gives the paintings a bit of space to breath and actually look like they have been placed in the space rather than they have always been there.
I know from the second freerange trip when we measured that the space between the furniture was 8ft 2 inches so I would effectively be looking at stretcher bars around 6ft 6 to look good in the space. However, the boards in the college I know are much smaller so I need to consider these before I make any decisions to buy stretcher bars.