Embracing Failure.
Following this week’s group discussion about failure and its potential to enhance the artistic process - despite my tendency to avoid it at all costs - I decided to revisit a painting I had abandoned over a year ago. The painting had stalled after I completed the sky. At the time, I was experimenting with a new technique that didn’t create the dramatic energy I had envisioned. Disappointed, I put the painting aside and left it untouched.
Revisiting the piece now, there was a strange sense of freedom. Having already given up on it once, there were no expectations. This allowed me to experiment more freely, trying out techniques I would usually approach with caution.
One technique I explored again was using washes. I had often used washes when I previously used watercolour before switching to black ink, but it's not something I’ve used much since. Initially, I reached for a hard roller, which had worked well with watercolours, but for some reason, the ink behaved differently. It seemed like the canvas was repelling the ink, making it difficult to achieve the weathered effect I wanted. Determined to get some sort of wash effect, I switched to a coarse 25mm brush I hadn't used before and bought on a whim, layering various water-diluted ink washes from light to dark. This approach created a dramatic sky that immediately brought back memories of the Scottish Highland landscapes from my childhood - skies that, while appearing unwelcoming to some, have always given me a deep sense of calm and belonging.
I also took a looser, more fluid approach to the mountainscape. Normally, I tend to control my brushstrokes meticulously, but this time I allowed for more movement and overlap with the sky. The result is a far more dynamic scene than I had originally intended. However, this change has left the grass fields in the foreground, which were initially my favourite part of the painting, feeling somewhat disjointed.
Even with that small reservation, I’m really pleased with how this piece has turned out. It feels much more fluid and energetic than many of my previous works, and I’ve discovered a few new techniques that I’m excited to carry forward. One thing I still need to figure out is how to start the sky in a way that I feel more confident about—I'm not fully sold on the layering of the swirls yet.
Nonetheless, this entire process of revisiting and reworking has finally led me to complete "Duibhe." What started as a failed attempt has now transformed into something I’m proud of a reminder of the value in embracing failure and letting it guide my creative process.
