These first two experiments of what I’m calling contact paintings have now received a glaze made from liquin and small quantities of oil paint that exhibit some of the colours and tonal qualities I experienced on the moors.
Both paintings started life as fabric wrapped around a stone, dipped in a bog, and buried within in a cairn for a week. They retain the intimacy and contact with the stone that remains now on the cairn, but now flattened and stretched over a piece of wood to become the living paintings they are now.
As I write, there are two more paintings being started, left to fester on the moors. One is submerged in a deep bog and the other is left inside a cairn.