Abstract art painting called Bazinga in red, black and white enamel paints

It’s a funny thing art. On the one hand you get a classic movement that offers us portraits and upturned boats on Morecombe Bay and on the other you get the conceptualists eager to push the boundaries of what is acceptable. I like to think that I am neither of those, or even somewhere in between. I can’t even claim to be an expressionist as often I have nothing inside to express. When all is calm, quiet and empty I make paintings like Bazinga. Amen for that.

On first encounter it’s easy to be dismissive of the organic forms and simple colour scheme. But in doing so it becomes an opportunity lost. The free flowing genesis of the red applications are brutally savaged by the black in a convoluted melee of good versus evil – only to be tempered by the white. I like this painting because, for me, it wrestles on that ragged edge of adversity and catastrophe on a constant basis, never knowing quite which way to turn.This painting is not subtle I grant you but then making a statement never is, is it?

I think of this as being in motion, like it is definitely growing up the canvas. For me, having movement from something static allows the painting to become alive and adopt its own identity. The paint is so thick on this painting that it physically bows and undulates the canvas in places – I really like that effect, especially as I don’t see it very often.

This particular piece measures 48 inches x 36 inches x 38mm and was painted onto 11oz triple primed canvas and stretched over a kiln-dried hardwood frame. It was painted in just three shades of oil based enamel paint and a number of different solvents. The canvas was painted on the floor, and was treated to several coats of primer and sealer before it was painted.
Bazinga is ready to hang.