NIKKI FOSTER

Tag: process

  • Making Chaos Between Forms

    The line marking lucidity from darkness is yet to be marked out. Adrienne Rich, From an Old House in America (1974) I propose to make a body of work in the form of a series of zines that explore unstable oppositions through a convergence of imagery and text. These include, among others, the familiar and…

  • Everything will come up to meet you

    What is your unit of painting? Sillman Guston, Munch Tuymans, Rego, Auerbach, Lowry Soutine Davis, Doig And Cecily Brown Material conditions and parameters (of leaving?) Large flat brushes Water, time Everything will come up to meet you Clearing, oil and acrylic on canvas (70 x 50 cm)

  • Bold

    This afternoon I felt the first warm sun of spring on my face. When I closed my eyes the glow was coral red. Red sky in the morning, shepherds warning. Favourite lipsticks: orange red for day, berry red for night. Indian red is on my palette because it’s awkward and dirty and seems to resist…

  • Blue Slippy

    I started this painting on an A1 piece of paper, working in washes from a photograph. I wanted more weight from it, in paint, and more distance from the photo. So I cut it up and mounted it on three small canvases, 30 x 40 cm. I have discovered this glue which dries completely clear…

  • Flow

    I just read Fake Whale’s ‘The Ontology of Flow’ recommended by artist Ian Mc Inerney on Merrigan’s Substack. It’s a really great read, very apt about the conditions of our online experience, particularly in relation to art making and the consumption of imagery. But how does it make me feel or think as an artist?…

  • Red and Blue

    Last night I couldn’t sleep. I migrated to the sofa and lay awake, watching the silhouettes outside on the blind. I wasn’t daydreaming because it was night. I suppose I was ruminating. I wondered what I know of desire, how much is balanced by restraint. The colours red and blue these I know. Last night…

  • In Conversation

    I have become very focused on painting from photographs. Photographs I have taken, which is a change because up until last year it was predominantly from my mother’s collection of photographs, taken from a large plastic bag which she had planned to throw away. I don’t know why she wanted to throw them away. I…

  • Very Base

    Recently I’ve been thinking about iterations. I think it makes sense to think about iterations when considering our familial routines and rhythms: doing the same things, using the same objects. I’ve been avoiding spending money on new materials, so after running out of water-based oil paints I’ve just been using up my acrylics. Any acrylics…

  • With Love from the Suburbs

    I’m making a series of work based on everyday life in the suburbs: observing my kids, our surroundings, and something else too, time passing. I’ve always found the idea of the suburbs fascinating in books and films in their rhythms, aspirations and longings. What you see and hear of your neighbours’ lives brings a blurring…

  • Everything Colliding

    The first thing I ever sat down and properly painted was a horse. I think I must have been 13. It was quite funny because I didn’t particularly like horses. On a visit to the New Forest as a younger child with my family, I broke away from them and approached a group of horses…