Ok,... two gears down and turning to the left. I know (albeit not explicitly) what I'm after with my exploration of spectres. A quick verbal sketch (aka a list) turns up the following
- the ways, means and politics of hiding: domestic violence, migrant workers, politics of war
- past experiences, memories and ghosts (my own)
- other people's ghosts (e.g. Don A.'s, but there are plenty more)
... they all need care, caution and time; so I'll be doing plenty of: two steps forward, one back or three. What is however, much easier is painting technique and also, how others have dealt with spectres in art.
There has been plenty of this so far in here... and while I'm a bit rubbish at providing comprehensive summaries, how to guides and similar, I think I should spend some time on digging up those earlier posts on this.
Right now, I am thinking of
- Cy Twombly is painting loss (i-iii)
- Accidental loss
- The Bull's Hollow along with its various exploration of pond, depth, reflections and the vagaries of when the wind blows
- There is much in my working through the fields of where I grew up which is ghostly, at points ghastly.
More recently, the Elqui series of oil paintings is exploring the effects of adding layers of turpsy murky greys to add depth, distance and a general blur. Similarly, much of my printmaking has turned rather experimental and tried to hide, undo, whiten out earlier layers.
I will start with more detail on these two work processes, while I'm trying to reorder my tags and unhide some of the various strands of my new project of a new world unorder.