Blue Water Hound
Christopher P Wood discusses his recent 'China Blue' series of paintings in an interview from our recent magazine:
‘Quite often where one thing ends you find the starting point for the next series, so it’s a continuous cycle of exploration. For instance, the paintings I’m making at the moment take as their starting point painted porcelain: China blue, willow pattern plates; that’s the starting point, with respect to the ideas of pattern, configuration, and colour. But what I’ve actually ended up with so far is something entirely different, something very strange, but somehow still related intimately to that long tradition of ceramic decoration. You’re always building on a tradition somehow, pushing something forward.
Even this morning I was thinking about these paintings with this beautiful China colour, which at its densest can be black, but at its lightest is a very delicate shade of blue. I’ve ordered the same colour in a printing ink and will start making some monotypes using this blue as the chromatic base. I’ll probably use some of the imagery from the paintings as the foundation for those prints, but I’m fully expecting the monoprints to shoot off and diverge in all sorts of interesting directions. Everything is linked together really: each medium offers insight into the next.'
‘Quite often where one thing ends you find the starting point for the next series, so it’s a continuous cycle of exploration. For instance, the paintings I’m making at the moment take as their starting point painted porcelain: China blue, willow pattern plates; that’s the starting point, with respect to the ideas of pattern, configuration, and colour. But what I’ve actually ended up with so far is something entirely different, something very strange, but somehow still related intimately to that long tradition of ceramic decoration. You’re always building on a tradition somehow, pushing something forward.
Even this morning I was thinking about these paintings with this beautiful China colour, which at its densest can be black, but at its lightest is a very delicate shade of blue. I’ve ordered the same colour in a printing ink and will start making some monotypes using this blue as the chromatic base. I’ll probably use some of the imagery from the paintings as the foundation for those prints, but I’m fully expecting the monoprints to shoot off and diverge in all sorts of interesting directions. Everything is linked together really: each medium offers insight into the next.'
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Christopher P Wood discusses his recent 'China Blue' series of paintings in an interview from our recent magazine:
‘Quite often where one thing ends you find the starting point for the next series, so it’s a continuous cycle of exploration. For instance, the paintings I’m making at the moment take as their starting point painted porcelain: China blue, willow pattern plates; that’s the starting point, with respect to the ideas of pattern, configuration, and colour. But what I’ve actually ended up with so far is something entirely different, something very strange, but somehow still related intimately to that long tradition of ceramic decoration. You’re always building on a tradition somehow, pushing something forward.
Even this morning I was thinking about these paintings with this beautiful China colour, which at its densest can be black, but at its lightest is a very delicate shade of blue. I’ve ordered the same colour in a printing ink and will start making some monotypes using this blue as the chromatic base. I’ll probably use some of the imagery from the paintings as the foundation for those prints, but I’m fully expecting the monoprints to shoot off and diverge in all sorts of interesting directions. Everything is linked together really: each medium offers insight into the next.'
‘Quite often where one thing ends you find the starting point for the next series, so it’s a continuous cycle of exploration. For instance, the paintings I’m making at the moment take as their starting point painted porcelain: China blue, willow pattern plates; that’s the starting point, with respect to the ideas of pattern, configuration, and colour. But what I’ve actually ended up with so far is something entirely different, something very strange, but somehow still related intimately to that long tradition of ceramic decoration. You’re always building on a tradition somehow, pushing something forward.
Even this morning I was thinking about these paintings with this beautiful China colour, which at its densest can be black, but at its lightest is a very delicate shade of blue. I’ve ordered the same colour in a printing ink and will start making some monotypes using this blue as the chromatic base. I’ll probably use some of the imagery from the paintings as the foundation for those prints, but I’m fully expecting the monoprints to shoot off and diverge in all sorts of interesting directions. Everything is linked together really: each medium offers insight into the next.'
