I’ve just finished day one of Georgia Mansur‘s Seductive Surfaces workshop and my brain is buzzing! Georgia has so much knowledge to share and so many techniques to teach, I found myself making a list of new materials to buy, and my head so full of new ideas I don’t know where to start.
I intended to take lots of photographs, but I’m afraid I was so busy having fun with new materials that I kept forgetting to take pictures. So there are a few, but perhaps not as many as there could have been.
The day kicked off with a discussion about creativity. Georgia shared her tips for loosening up and building creativity. The tone was set for the day, allowing everyone to create our first abstract paintings without judgement. So often, we are our own greatest critics. We beat ourselves up when we don’t think we have done well enough. Today was about suspending all that negative self-talk and just playing with new materials.
Georgia comes well prepared with plenty of examples and samples for everyone to look at. Given how much information she has to share, these form a fantastic resource. Samples of different watercolour and acrylic paint effects were in constant demand during the day as we all wanted more and more ideas.
The real work started with a rummage through Georgia’s treasure trove of paper, twine, lace, fabric, pictures and much, much more. Her demonstration started with a period of intuitive composition with a selection of texture-creating materials. Once the composition feels ready, the individual items get stuck down with gesso and the painting is left to dry. Things to remember: non-porous materials won’t hold paint as well (or at all, if they’re not coated with gesso), and organic materials must be completely sealed to ensure they remain intact over time (and to stop your painting being attached by insects). On an impulse I added the contents to one of a teabag to my painting, so this was valuable knowledge.
In a moment of curiosity, I bought some sheets of elephant dung paper in South Africa last year. I wanted to try it for watercolour painting. As you can see from the photo above, it wasn’t a successful experiment. The paper is just too soft and absorbent. There’s not enough structure to hold the pigment well enough so I wrote it off to experience and left the paper in a drawer, thinking I wouldn’t ever find a use for it. I had a flash of inspiration when I was collecting the materials for this workshop and fished it out of the drawer to bring along. It’s got a great texture for this sort of work: at last I have a use for it.
At the end of stage one (composition and gesso application) my painting included fabric, fruit bags, rafia, tea leaves, leather shapes, plastic bag, (and indeed, a smattering of elephant poo!)
After lunch, once all the gesso was thoroughly dried, we started applying colour washes with acrylic paints, and watercolour pencils.
There’s more work to be done – detail to be added and textures to be emphasised. That’s tomorrow’s job.
We’re also due to work on a new more structured painting tomorrow and I’m looking forward to trying out some of the textured gels and pastes.