Boy with Knee Up

[Carlos Ygoa]

Thomasin,
Have been away for a while and am just now getting updated on what

[Tom Edgerton]

Thomasin--

Really fine! Love the atmosphere of it...

Is your technique more additive (piling on) or subtractive (scraping off)? These remind me of abstracts a local guy here paints, with a beautifully pearly and dense surface. When he's done with a piece, there's more paint on the floor than the painting, the surface having been heavily scraped between each layer. Each painting looks as if it weighs a ton, but there's no other way for him to get that accumulated result. Your (oil) paintings have a similar feeling of material "weight."

Can you describe?

[Thomasin Dewhurst]

Carlos, thank-you very much. Yes, this is a group show at the Blackheath.

Thank-you, too, Tom. Yes I do a lot of scraping off, but I also use a lot of light touches too. The scrapings-off push the paint that is left on the canvas into the gaps between the canvas threads and give an actual physical, sculptural depth to the image. The light scumbled marks bring the paint forward physically and sculpturally, and together this give a great feeling of tactile modelling. So the front of the leg, or the most prominent parts of the cheeks, for example, would be scumbled and brought forward and the underside of the chin, again, for example, might be left in its scraped-off stage, or pushed hard back into the canvas with the paint brush. My paint marks are a combination of the descriptive (the outlines, the colour, the drawing) and the sculptural.

[Chris Saper]

I apologize for missing this post- it's just lovely.

Kudos to you,

[Thomasin Dewhurst]

Thank-you very much, Chris. I apologize for missing your reply!

[Enzie Shahmiri]

The angelic auro of your son comes across really nicely. Now that you have explained your texchnique it sounds very interesting and I would love to see your work in person.

[Thomasin Dewhurst]

Thanks very much Enzie.