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CONTROL POINT: rust never sleeps

This is the leftover ash and binder from the middle panel of this series. It's just a mixing palette, but has unintentional cloud shapes with that crucial energy and 'mark-making' I'm after. So, can these types of marks make their way back to where they're supposed to go: on the artwork? It's a balancing act of having just enough control and letting go... It helps working large. This door-sized scale opens doors, so to speak. It allows a complete shift in the way you can make marks. They become more gestural and physical, less dab and more slap. It's like being part of the art; inside it, not outside. Here is an early stage of another panel, aiming for the balance of definition and sugges

CONTROL POINT: rust, the slow burn

What has rust got to do with fire? The process is actually pretty much the same, but a slower oxidation process on a different material; metal rather than things that obviously burn and ignite, like wood. I have no shortage of rust coloured iron oxides in my samples of charred earth, so I set off to make my own fake rust surfaces in a series of panels on shiny new doors. Together, they make up a giant composite ash-cloud. In this 'controlled burn' process, I've drawn the imagery onto the wooden surfaces, (well, mdf, barely a real wood anyway!) with the earth pigments, then attacked with an arsenal of destructive techniques with the intention of mimicking the effect of rusty metal. The risk

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