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COLOUR

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Iona from the ferry at Fionnphort

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COLOURS IN THE FIELD

I found that some of the colours on Iona and mull were so unique that they seemed almost unnatural and otherworldly.

the colours and shapes which I found on Mull had the most influence within my pieces

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this was the first significant introduction of bright colour. The choice of colour added to the feeling of abstraction and was something I felt made the work stronger. 

UNREALISTIC COLOUR
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visiting the whitworth I was able to talk to curators about techniques and gain access to watercolour landscapes which I felt best talked to my practice.

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colour was a huge part of the selection process as my work was at this point hugely colourful. the difference between Frampton's painting and Turners is the unrealistic use of colour versus the muted soft tones. though I find Turners more alluring the longer I looked at it, it was Framptons who initially caught my eye making 'The Ouse Valley' more relevant to my practice.

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Reginald Frampton - The Ouse Valley 1924

Joseph Turner - Moonlight on lake Lucerne 1841

VICTORIA MORTON

I discovered Morton while reading 'Contemporary British painting 2' by Matt Price. Her use of colour was something I could see commonalities between my own work.

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notes made on collaboration with rug tufter Kristi Vana for Dovecot studios - video link below

https://www.youtube.com/watch?v=282jBTR6Gag

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