Scottish artist JUDITH BRIDGLAND knows how to lay it on thick! Here she reveals how she uses substantial impasto marks to create her bright, expressive paintings
You paint on both linen canvases and wooden panels. What determines which support you use?
I enjoy working on both, as they each give something special to the painting. I use Belgian linen, as it is better in conservation terms and also preferable when using impasto paint. A linen canvas is made from the long fibres of the flax plant, which have a lovely natural oil within them. This gives a nice flexibility and strength, which means the support doesn’t sag when thick with paint. When you apply a loaded brush to the surface, there is a lovely responsiveness to it, like a tensioned dancefloor.
However, it’s also rewarding to work on a panel, for different reasons. There is a beautiful tooth to the surface, yet a smoothness that means the paint slides across it. It’s nice to have that resistance too. A panel gives a feeling that there is a great robustness underpinning the work.
Do you prepare the supports first?
I give the supports a coloured ground, usually a warm grey or blue, but sometimes lilac, magenta or a deep yellow. It’s good to work on a medium tone, as this not only helps to unite the composition and set the mood of the painting, but also can be less daunting than a stark white surface.
Could you describe how you apply the paint and the tools you use?
Broadly speaking, the painting moves from the general to the particular – large, flat, thinly painted areas to small, complicated, impasto details. Sometimes I will thin the paint with turps and use a large scenery painting brush to sweep in the background, other times a palette knife or the edge of a sheet of card.
I mix the paint on my palette, pick up the amount I need on a palette knife, and make a purposeful mark firmly. I blend the edges of these big volumes of impasto with a small watercolour brush or stipple it in with a small, flat, firm-bristled brush.
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