Gomez measures 122cm by 122cm.

I use only the finest triple primed canvas to protect the paint from falling through the weave. The frame is constructed from seasoned timber bearers and measures approximately 50mm deep so this is a substantial piece of art.

I’ve painted a few really spectacular pieces recently – this being one of them. I think I am most pleased by the colours more than anything, partly because I have used the most bizarre, mixed-up set of tones and hues you could imagine. This was deliberate. I didn’t feel like playing safe and sticking to the rules about compliments and contrasts. I decided to mix it up a little – and with some remarkable results.

One of the problems I face with most paintings is detail. I have to give enough definition to the painting so that it works from a distance but also reveal a hidden world as you get close to it. Bold white and black accents offer a pronounced strength to the piece whilst still allowing the intricate details to become evident – almost as if I have captured an explosion or something. The pictures above give you a close up view of some of the detailing I put into pieces like this. In these pictures you can clearly see the weave of the canvas – that’s how close up you can go and still see some incredible detailing. For an artist who likes to paint big I pack in a surprising amount of small too…

You could be forgiven for thinking that the painting is an expression of complete randomness – it does look that way I agree. However, spend a little time with it and you realize that there is a clearly defined background that rotates in its colour. You’ll see a precise balancing of colour that allows no part of the painting to become heavy or disjointed. You can also see how certain applications of paint bring others together and give them a sense of purpose. To me, the list just goes on and on. I’ve always said that the real skill of the drip technique is to make something that looks chaotic feel controlled and ordered and the other way round. I believe I have that in this painting.

I used more technical elements in this piece than in most which has resulted in a mixture of styles. One of the most critical aspects of this was the ‘cure phase’ as I call it. Enamel paints, whatever their viscosity, require time to cure. A skin will form leaving fresh paint underneath. This in turn hardens until the whole depth of the drop has hardened. In some extreme cases where a lot of paint is used this can take four to six weeks. This then varies depending on how and what you mix it with. So I have to understand the cure phase well enough to be able to make a judgment on when to apply the next colour for the effect I am trying to get. This is absolutely crucial. Too long and no mix, too soon and mix. Always tricky