My Blue Void - WIP


A couple of years ago, when I was using P's studio, I made a painting with screaming yellow background. There was lettering on it in orange and red and a white illuminated letter with golden relief lacy ornaments. I usually lay my paintings on a table to varnish them in horizontal position, but there was no table or any other horizontal surface without clutter on it in the studio. I put the painting on the flor, covered with an ancient carpet which was most probably never vacuumed. I realised too late that I varnished dust on the painting and it looked really ugly on the screaming yellow surface.

After a while I had a recycling moment and I remembered that painting. I should make something else out of it, so I decided to cut the relief golden illumination off. Easier said than done. I soon damaged the canvas so much, it couldn't be used the way I wanted it. Unless ... A couple of days later the spirit of recycling was still very much alive. I remembered some sketching paper I no longer used, huge sheets of translucent paper, similar to what they used to wrap loaves of bread in when I was little. I put crumpled paper on fresh coat of primer and topped it with more primer. The crease experiment was perfect.

Time passed and last week I thought that Prussian blue void would look good on a crumpled surface, crumpled void. A void that is not satisfied with smooth surface, it wants it crumpled so that it can crawl into the creases as if they were worlds of their own. Who knows what is in there. After they were sealed with paint they can contain anything; however they might be just creases sealed with paint.




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Pred leti, ko sem še hodila v atelje k P-ju, sem naslikala sliko z božjastno rumeno podlago in oranžnimi ter rdečimi črkami. Na sredino sem dodala inicialko, iluminirano z zlatimi reliefnimi elementi. Po navadi slike lakiram v vodoravnem položaju, doma jo položim na mizo, da lahko hodim okoli nje. V P-jevem ateljeju ni bilo mize, ki bi bila prazna in dovolj velika, zato sem sliko položila na tla, ki so bila prekrita s prastaro preprogo s perzijskim vzorcem, ki je verjetno nikoli nihče ni posesal. Prepozno sem ugotovila, da sem na sliko polakirala prah, ki je bil prav grd na rumeni površini. 

Čez čas, v želji po reciklaži, sem se je spomnila. Nič ni narobe, če naredim iz nje nekaj drugega, samo tiste reliefne reči bi bilo treba odrezati stran. Lažje rečeno kot storjeno. Od začetka je šlo kar lepo, vendar sem kmalu prišla z nožem skozi platno, pravzaprav mi je zmanjkal kak kvadratni centimeter platna. Kak dan kasneje je bil duh reciklaže še vedno zelo živ. Spomnila sem se skicirnega papirja, ki ga ne uporabljam več, velike pole, ki spominjajo na prosojen papir, v katerega so nekoč zavijali štruce kruha, le da je trši. Zmečkanega sem zalepila na pregrundirano rumeno sliko, počakala, da se posuši in še to pregrundirala. Zmečkanine so bile odlične, za eksperimentiranje bo v redu.

Pred nekaj dnevi sem pomislila, da bi na zmečkani površini prusko moder nič verjetno izgledal dobro. Zmečkani nič, velika praznina, ki ji ravno gladko platno ni dovolj, ampak se mora zavleči v gube zmečkanega papirja, kot da bi bili svetovi zase. Ker tam pa res ne vemo kaj je. Potem, ko jih zapremo z barvo, je v njih lahko kar koli ali pa nič, samo guba, zapečatena z barvo. 

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