Daniel Goodchild

MA Fine Art 2015

Chelsea College of Arts


The painter’s studio recipe has key elements which remain unchanged, techniques and truths that remain constants, for instance we know yellow and blue mixed will always create green, though it is always the extent to which, the scale and degree that these dilemmas are challenged and explored, which for the painter, makes the process a highly engaging act, even before the title and context may come to light.

James Elkins suggests that we must not loose sight of the context of a painting, the background behind the artist’s intentions, though that the activity of doing, has equal importance, neither is sufficient without the other, though one must not take favour with the first and neglect how the painted product came to fruition, as Gombrich states (2008, p.43),

“Making comes before matching”. The physical process is integral, without it, you could not approach a definition without having something to define.

The practical studio endeavours have evolved to embrace a chemical alchemy with paint, the mixing of pigment (Stone) & Medium (Water) to challenge the chemical structures of the paint and an allowance for the media to dictate the language, atmosphere and composition, through its transcription onto surface.



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