Why I create artwork in a series
Earlier this year I completed Nicholas Wilton’s Creative Visionary Program. If you haven’t heard of this, it’s an intensive, all-consuming 12 week program of learning that focuses on design, value, colour, texture, and more. Because there is so much information to absorb and integrate into practice, participants are asked to work on multiple small pieces at a time, rather than one large piece. Wilton promotes this approach because of its multiple benefits.
In fact, many artists, this one included, find that working in a series is deeply satisfying and effective. Here’s why I prefer it:
Keep it moving
In the early stages I work fast, and lots of paint gets applied in a relatively short period of time. I’m not patient! Rather than standing there waiting for layers to dry, I prefer to move on to the next one, and the next, as quickly as I like! There’s no impatient waiting or blow drying needed. By the time I’ve worked on several in the series, the first ones are dry enough that I can have another go.
Discoveries abound
I like to start each painting with lots of intuitive mark making and colour application, because this is when the most interesting things happen – a delicious new colour combination, a surprising shape, an unexpected association. When I make a discovery I like, I can try to bring that into my work more deliberately. It’s simple math: when I am working on several canvases rather than one, I’ve got more opportunities to stumble on something really good. Notable discoveries go into one of my art journals.
Oooh, that’s a nice bit…
Ever fallen in love too soon with a painting, or a part of a painting, way too soon? It happens. And if that’s the only one you’re working on, it can seem particularly precious. By having several paintings in play, I tend to feel less invested in any one of them. At the very least, I can set it aside for a bit, work on the others, and see if I’m still in love in the morning. Avoiding attachment too early is key to staying open to all the gorgeous possibilities yet to come.
Continuous and accelerated learning
This is the piece I learned from Wilton, and it is brilliant. Working in a series, inevitably there will be one that seems to jump ahead of the others by the end of a painting session. This is a great opportunity to learn – why is this one better than the others? If I can understand what it is that’s working well, then I can apply that to the others in the series the next day. My goal is to bring the rest up to a similar standard. And guess what? As they all come up, a different one will jump ahead – and I can now learn from that one. Wilton says this process can rapidly accelerate learning, and I know he’s right. I love to watch my pieces leapfrog their way forward.
How many do I work on at once?
It varies, and for me it is linked to the size of the canvases. For mid-sized pieces like the ones in this photo, five or six feels about right. For smaller panels, I happily work on 9-10. If I’m riding a good wave of creative energy I might add another one or two as I go. Similarly, if I’m struggling with two many I will set a few aside for a while. It’s completely flexible, and personal.
If you haven’t worked in a series and want to give it a try, I recommend starting with three, and adjusting according to how you’re feeling.
Does there need to be a common theme to tie a series of paintings together?
Often a series is linked, at least initially, by the palette I’ve started with. They might also be connected by a common thread of enquiry, for example, exploring a shape or a composition. UK artist Alice Sheridan notes that series are nearly always connected by time and place. My own feeling is that having a common theme is not important – if I don’t see a strong connection between pieces, I don’t try to force it and I don’t worry about it. At the minimum, they are connected by my unique hand and voice.
