The top here was my final piece, a rotten nectarine. I was extremely pleased with the painting and so was nervous about adding stitch to it incase I wrecked the piece. However, with that said, I believe that I made the right decision by adding thread into it, as from afar you are really unable to tell that it has been stitched into. It is not until you come close to it that you realise that it has been sewn into, and it gives it that little bit more texture. The section which I am most pleased about is the background. I always feel that I can never fade/ blur the background out but in this case it worked really well!! The stark contrast also works aesthetically well as it makes ones eye concentrate on the rough outer line of the nectarine, and the bruised section on the right. Once the painting had dried I took it off the canvas and began stitching into it with different colours. Similar to how I varied my brushstrokes, I varied my stitch movements. The stitch gives it that extra layer and draws you closer in to explore and understand what it is. It could be there as a thought of that it is only the stitch that is holding the piece together. Without the stitch, the rotten nectarine would fall apart. It also presents the idea of that through piercing it, it has sped up the process of it rotting, or then the idea of as you pierce it, the juices come flooding out from it. The quick visible brushstrokes almost makes it seem as though you can see the fruit rotting, moving and wrinkling before your eyes. The colours used are very organic, they are fleshy tones which remind you again of natural things - life span and mortality. This piece works very well by it being so large. A rotten nectarine would often be over looked, but by making so large and detailed, it shows the true beauty that it holds for the viewer and makes you rethink about just looking over and everyday object. The only thing which I would change when I next do this would be to use a darker bobbin thread, as in sections at the bottom where I had stitched into, it shows through as white dots/ specks. I might also try the use o rags within the piece, as another way of applying paint.
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April 2016
Kerry FosterThird Year Fine Art Student at Falmouth School of Art. Fellow artists: |