Moving into the Royal College of Art: Paint Experiments and Settling In
The messy update on what I've been up to at Royal College of Art
Introduction to My New Studio at Royal College of Art
I've officially moved into my studio at the Royal College of Art (RCA), where I'm sharing the space with two or three other incredible artists. We each have our own dedicated wall to work on, and the creative energy here is palpable. I can already feel how this cohabitation will drive our artistic practices forward, as we inspire and learn from one another. Sometimes I think it's wild that we, random people from all different cultures and walks of life, have been brought together in this room to work for a year. What will come from that? Who knows!
Deeper Look Into Tracey Emin's Paintings
Recently, one of my studio neighbors lent me a book on Tracey Emin's paintings. As I flipped through the pages, I was struck by the looseness of her paint strokes and the restrained use of color. Her work is deceptively simple yet emotionally complex, something I find fascinating. Emin’s compositions often feature an outline of a figure, with expressive strokes and backgrounds that seem to breathe with life.
What stood out to me was the way her work invites the viewer to fill in the emotional and physical details, creating a unique collaboration between the artist and the audience. Inspired, I attempted my own version of a "Tracey Emin" painting using color pencils, but found that I overdrew certain areas, losing the looseness and spontaneity. While I’m unsure if I’ll continue down this path, this exercise showed me the importance of rediscovering my own line style.
Experimenting with Large Format Painting
Since moving into my new studio, I’ve been eager to push my boundaries by experimenting with large format painting. Up until now, I’d never painted anything over 120 cm, so I decided to challenge myself by working on a larger scale. I rolled out 2 pieces of canvas, each about 113x165cm each, and stapled them to the wall, since I didn't have stretchers of that size. Besides, since these would be experiments, I thought it would be okay to try out painting against the wall, unstretched. I wanted to create something abstract and unfiltered, allowing the unconscious mind to guide the process.
After stapling a large canvases to the wall and priming them, I began drawing shapes that came to mind without overthinking or editing. I then determined the light source and used my scratching technique to add texture and form to the objects (the result of this part shown in the above left image). This method of scraping adds depth to cylindrical shapes, and I find that it bridges my love for both drawing and painting. However, painting this way, solely with oil paint, uses A LOT of oil paint, so I'm beginning research into different materials and mediums I can mix with the paint to increase the thickness and reduce the amount of oil paint required.
Interestingly, even when I try to be more expressive, my work remains defined and controlled. This balance between control and freedom is something I plan to explore further in the future, however my aim is to become more expressive, more free in my artwork. This is precisely why I decided to close my eyes, and put my hands on the painting, feeling it instead of seeing it, wiping away parts of the painting (image above right, and video of process below).
Perfecting My Gauze-Wrapped Canvas Design
While at the Royal College of Art, I also plan to refine my gauze-wrapped canvas technique. Currently, I use all the necessary materials to ensure the durability of the canvases, but I believe there is always room for improvement. Below, you can see the front and back of my painting "Chronically Separated" (2024). I'd like to design a way to make to secure the back further to increase durability, and perhaps make it more pleasing aesthetically. I hope to learn even more from my peers and professors at RCA, enhancing both my method and the longevity of my work.
Finding Inspiration in Everyday Sketching
Before I had full access to my RCA studio, I found myself sketching different ideas for future art pieces. I let myself be inspired by words or concepts. For example, one of my sketches (below left) was inspired by the word “money.” This practice of allowing words or ideas to guide my creativity has opened up new pathways. I feel like they are a good launching point for beginning to paint from the unconscious.
Conclusion: A Journey of Artistic Exploration
My time at the Royal College of Art has just begun, but I already feel deeply connected to the space, my fellow artists, and my own evolving artistic practice. From experimenting with large-format canvases to drawing inspiration from Tracey Emin, this experience promises to push my work in new and exciting directions.
I can’t wait to see what developments come next in my practice.
ABOUT THE AUTHOR:
Lala Drona is a Franco-American artist of Venezuelan heritage working between Paris and London. Her practice spans painting and video, probing the body not by appearance but by sensation—an interior landscape of memory, intervention, and transformation. She recently completed her Masters in Painting at the Royal College of Art. She also offers one-to-one fine art coaching and portfolio critique here.
Xpainting with Lala Drona
