Utilising luminous and iridescent hues replicated from the natural world, I would like to produce a large scale, immersive oil painting that considers the hyper-intelligence and otherworldliness of nature, specifically aquatic botany and its relationship to bodily concepts/anthropomorphic landscapes. As with abstract expressionist artist Olitski, I aim to achieve an immersive and sensual composition of ‘dreamlike fluorescence’ through paint and colour-field processes/techniques. I will explore powdered pigments and acrylics to achieve this vibrancy. By referencing natures beguiling characteristics such as the natural phenomenon of bioluminescence and ‘structural colour’, I aim to emphasise nature as ethereal and ‘sublime’, defining the boundaries between botanical material and its connection to the artificial and synthetic. 

 

Emphasising a less assertive, more malleable use of line and pictorial construction in amongst definitive botanical impressions, I aim to create a botanical, bodily painting which hovers between abstraction and a residual sense of figuration. I will therefore continue to capture organic impressions on the folds of translucent fabrics to create indistinguishable elements made visible through layered surfaces/states of matter. Continuing this photographic experimentation in Unit 3, I will develop a visual language of flora, combined with different light densities and films of fabrics to create nebulous, abstract forms to work from. Employing processes of removal, soak staining, layering and stencilling, I will research further into McKeevers monumental bodily landscapes and fervent gestural mark making to accentuate paints visceral, immersive and musical qualities.