9-2= Studio Time
3.30-5= Visiting Artist Lecture
Progress photos of Fine Liner drawing-
Visiting Lecturer- Andy Jackson
In his painting practice, Andy Jackson develops a visual language edited from subtle interruptions within the urban environment. Physical insertions into street scenes, notably in his 2016 exhibition Paintshop, which was held on the windows of a recently closed down decorators’ merchants, pay homage to the visual richness of their setting. Rather than try to supersede or distract from the environment, Jackson looks to supplement and complement what is already present through process-led paintings that merge self-imposed rules with a degree of chance. The resultant subtly laboured surfaces visually relate to their surroundings whilst retaining a sense of physical detachment. A concern with the relationship between the painted surface and its support can be attributed to the investigations into pictorial flatness that pervades Jackson’s practice. Forms are often embedded into the surface, as if directly cast into the shallow support. This is particularly evident with the introduction of collage elements in recent paintings, scraps of circus flyers for example, the ubiquitous decaying posters of shop fronts and advertising hoardings. Paint may be given the plasticky sheen of vinyl or the abraded surface of sanded plaster. Strips or rods of colour dribble and vary in density, often appearing muddy in their translucency. In some cases, small tab-like marks appear to have been peeled away from elsewhere and applied to the canvas. Often the question is asked how to differentiate; what is printed, what is splodged, what is stuck on, what is woven into the surface.
Further notes are in my context folder from the lecture