Instead of putting the date in the corner of the canvas, or on the back, I tried putting it right into the composition. I think maybe I was thinking of the Mark Grotjahn show. Seeing the date like this made me think of WWII concentration camp tattoos, which is odd since I’ve never thought that when it was written on the back or smaller in the corner.
In regard to prominent production dates, On Kawara’s date series is the obvious precedent. I don’t know much about his practice, but I’m guessing his conceptual reasons are quite different to mine.I wrote the date and letter code on my painting before doing anything else, and it immediately broke up the space of the canvas. It made it seem like a page in a note book. That made me more confident about using the remaining space to continue practicing my painting in piecemeal sections, as opposed to composing a picture. Of course, it becomes its own kind of composition, but still I like the reduced pressure in the idea of using oil-on-canvas like a note book.
This reminds me of Keith Tyson’s Art Machine Proposals, although, as with Kawara, I don’t know much about Tyson’s work and doubt that we are pursuing the same conceptual ends.
Several other artists’ work comes to mind when I look at 160830a Transparency, including the diagrammatic abstraction of Hilma af Klint (which also sometimes includes transparencies) and the appliquéd quilts of Tracey Emin.
While I was painting 160830a Transparency, I realised that I’d seen this kind of transparency effect before, in Kippenberger paintings like this one (below).
While I was looking through Kippenberger’s work, I noticed a painting (see below) which features a shape similar to one that appears in Josef Albers’ Interaction of Colour. I don’t know if there’s a connection, but it’s something I might research another time.