Studio Views: Work in Progress

Studio photograph of work in progress 29/01/11

Yesterday, work started on developing an earlier sketch from the Child/Animal/Other series. The work entails recreating material found from a google image search for 'child and animal', by rendering the individual elements of visual data that make up the image, in this case from a digital print of a half tone pixel-based photograph.

Work in Progress (Detail)

Studio Views: CMYK Sketches

CMYK Sketches (2011) Acrylic on Canvas

CMYK Sketches (Detail)

CMYK Sketches (2011) Acrylic on Paper

CMYK Sketches (Detail)

Developmental sketches exploring a limited Cyan, Magenta, Yellow and Black palette. The paint is applied in layers onto the paintings' surfaces, where the colour mixing occurs – rather than mixing it on a palette prior to application. The process continues with my exploration of replicating mechanised image-making processes by hand, in this case suggesting a four colour printing process or screenprinting.

Project News: A Message To...

A Message To... Ann Oakley (2011)

A Message To...

On 22 January 2011 members of TBC Artists' Collective - Beverley Bennett, Laura Davidson, Paul Mendez, James Tuitt and myself - travelled to Oxford to complete the first part of a long-term project, 'A Message To...' 

Each artist made a piece of interventionist work inspired by someone who has contributed to the cultural life of Oxford. My work, a drawing in dirt for sociologist Ann Oakley, who has written extensively about women's experiences as housewives and mothers, was installed in a display cabinet in the Pitt Rivers Museum. 

The cabinet, on the first floor of the museum, is directly underneath a vitrine containing ethnographic objects relating to marriage. Oakley graduated from Somerville College, Oxford in 1965, where she is now a Fellow.

 

The site of the dirt drawing intervention in the Pitt Rivers Museum, Oxford

Project News: TBC Do it Again, and Again, and Again

The Double Walkers (2010)

The Double Walkers, 100 drawings of a photocopier 'copy' button is my contribution to the current issue of 12-Pages, which can be seen now on TBC Artists' Collective's online project space. Edited by James Tuitt, 'Do it Again, and Again, and Again' focuses on the repetitive and absorbing nature of contemporary drawing practices.

See more at www.12-pages.com

Project News: A Message To...

A Message To... Ann Oakley (2011)

TBC Artists' Collective are working on a new long-term project called 'A Message To...' The project will take members of TBC to various UK and international locations to make ephemeral interventionist works based on the cities they travel to. This week the group will travel to Oxford and install postcard-sized art works we have made specifically as a message to a person linked to Oxford who has contributed to national cultural, creative or academic history. 

My work pays homage to Ann Oakley, a writer and a sociologist who graduated from Somerville College, Oxford. She has written extensively and influentially around issues of sex and gender, housework, childbirth and feminist social science. Her 1974 book 'Housewife' inspired my 'A Message To' work, in which she wrote, 'Housework is work directly opposed to the possibility of human self-actualisation'. My drawing is made from dirt samples collected in my studio.

A Message To... Ann Oakley (detail)

Studio Views: CMYK Sketches

CMYK Sketch (2011)
Acrylic on Canvas

Studio Views: CMYK Sketches

CMYK Sketches
Acrylic on Paper

Above are some new sketches for a series of paintings using a CMYK palette. The CMYK colour model (also called process colour or four colour) is a subtractive colour model used in colour printing. CMYK refers to the four inks used in such a printing process: Cyan, Magenta, Yellow and Black (Key). Ink is usually (but not always) applied in the order of the abbreviation. The CMYK model works by partially or entirely masking colours on a lighter, usually white, background. The ink reduces the light that would otherwise be reflected. Such a model is called subtractive because inks “subtract” brightness from white.

The sketches develop the Ben-Day dot and pixel works started in 2010, where hand-rendered marks are evocative of mechanical printing or digitised image processes.

CMYK Sketch (2011)

2011: Back to the Studio

Ben-Day Dot Sketches 2011
Graphite on Paper

Yesterday saw my return to the studio after the Christmas break. 2011 will be a busy year with exciting new projects from TBC Artists' Collective and my forthcoming solo show at Electric Blue Gallery in October 2011 (www.electricbluegallery.com). Work started on a number of new sketches that suggest the fragility of the mass produced image, exploring the relationship between the autographic image and the visual language of mechanical reproduction.

Carbon Particles will be regularly updated with progress of all Charley Peters projects in 2011.