I arrived early after dropping Steve at the station and walking Olive from twilight to daylight at St.Clements. I had planned to drop the painting onto the floor again and spray it with thinned down paint. So, I covered the floor with black plastic that had the double benefit of creating a dark background for photographs. Spraying didn't go too well as the device kept clogging so I emptied the paint into a jug and found a branch of pine needles that I had picked up in a woodland to use for decorating the surface of clay. I used this to flick the paint onto the surface of the painting where some of the pine-needles fell onto the canvas with the paint.
I took the painting off the wall around midday and dropped it onto the floor to see what shapes it would find from its own materiality. I discovered that by using my iPhone I could take close-up photos fairly randomly and the painting began to suggest things to me.
I liked the way the canvas sometimes created elegant curves and other times tension or even skin. I enjoyed the close-up texture and the way fortuitous rays of sunlight illuminated some of the colours and created contrasting, shadowy spaces. I was a little confused by this ray of light since my studio is North-facing until I discovered the light was pouring through the small rectangular window over my South-facing door.
This process of holding the camera phone into places I couldn't actually see reminded me of a previous project in 2002 when I took photos up chimneys and behind radiator, crevices that were out of sight, and when I photographed in detail the store room into which I installed 'Infrasense' in 2003.
I am interested in things and processes that are often overlooked or spurned as irrelevant. In 2006 I began working an allotment in Derbyshire that became my field for research and working the ground has been important ever since.