acrylic
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I took my early explorations in Stable Diffusion and developed a way to make more interesting images with them, and develop an artistic process that wasn’t the kitsch boring photoreal woman in place images that plague the internet since the growth of these generative models exploded this past year. My subject was the octopus, and
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After messing around with various glitching techniques, I needed to start putting my focus back onto the architectural and landscape aspects of my work that pushed me into that frame in the first place. Armed with the photographs I took over the summer that can be seen in this post here, I began again to
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In configuration 9 the rule I used was that instead of using colour as the positive element dictate the fill, I’d let the traditionally negative elements i.e. white and the background prime colour dictate how the fill is carried out. This comes from how I have begun to read into John Cage and Robert Rauschenberg
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No two coloured tiles are made adjacent in this piece. The colours were applied in a very different method: The main colour of a tile was determined by the number of adjacent tiles it had. This was then blended into from the sides that had an adjacent tile with a colour that corresponded to the
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Acrylic on Canvas. I really like the way this piece turned out. The colours seem to join well together for me (being colourblind I can’t say that this is the same for everyone) and I think the way the drawing was laid out really gives a lot of space and attention to every facet.
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Having all but removed the lines from a painting, this time, I decided to remove the colour and leave the lines to play amongst themselves. This piece uses 4 of the source image which has resulted in the 4 clusters that are visible within the work. The piece itself is sort of reminiscent of
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Acrylic on Paper. Having thought about the use of shape and line within constructivist works, this time I decided to put the drawing underneath a priming layer, also using this as a way of stretching the paper before painting to hopefully reduce the surface distortion that occurs as paper is wetted. This method has really
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Dear Robin Leverton, Congratulations! Your artwork with title The Security Guard Wouldn’t Let Me In Until 08:30 has been approved and will start appearing with other works on screen at the 2nd floor of the Saatchi Gallery in the next 24 hours. Your work will remain in the loop as long as the screen is
Robin Leverton 