However many times I sit and look at the Tintoretto it never looses it’s appeal. Perhaps it’s the way patches have faded or been restored. It might be the mysterious cat, the wonky tiles or the ghostly figures. Tintoretto had a flare for drama and draws you into his pictures. Having sketched this picture a few times it still grips me. Each experience of working from it is different.
Starting the collage I wanted to keep the dark, earthy feel so chose papers that were less garish.
For detailing I used the red and white striped tape to create small areas of interest. The collage was about simplifying the image and discovering what the focus was. I worked on a clear plastic sheet to give a solid base and slowly moved across from right to left filling in. The process of collaging for this one was very much putting a jigsaw together.
What I enjoy about collage is finding new uses for bits of artwork that weren’t good enough to display but weren’t bad enough to discard. The purple paper was from a watercolour demonstration of salt techniques, the dark maroon was a drawing of the corner of the Kensington Church Street. For Jesus’ robe I recycled the outside of a wallet given to me for a birthday a few years ago. I wore the wallet out but loved the pattern so much I didn’t want to discard it. The rubbery cream colour is from practice skin, which has a wonderful texture to it as well.
Of the collage I’ve been working on so far inspired by the Masters, this is my favourite.