Immovable Objects

Grand piano with a large pink and black painting

This is a pink and grey abstract art work featuring gold and black accents

There’s so much I love about this new painting. the mix of dark and light (and the fact that pink is involved) make it a really interesting and dynamic painting.
200cm x 130cm (78″ x 51″)

£3200

includes UK delivery and VAT

RENT FOR £105 pcm

Pink grey and black abstract art in a dining room
Big grey and pink art called Immovable Objects
Swirl of pink and black paints on canvas
Pink and grey abstract art

Creating this pink and grey abstract art

I am a huge lover of pink. I never think of it as being a feminine colour though, despite what society will have us believe. This pink and grey abstract painting (yes I know it has a heavy use of some very dark tones) is made up of some incredible shapes and a combination of colours that I have never used before. Fluorescent pink paint on canvas

Much of the success of it is down to the contrast between light and dark. Although on this occasion I have kept the black and dark grape colours in a contained ‘L’ shape around two sides. What this does is allow the lighter colours to show off and take on their own personality. The colour combination is fantastic and is massively helped out by the use of gold and a dash of fluorescent red.

Getting all moody and mean

The painting has a definite dark side to it. Don’t hide under the duvet though – it’s not that kind of darkness that I am referring too. Think of it as a kind of intensity rather than anything sinister.

The painting has a significant gravity and weight and this is down to the placing of the colour blocks and movements. It’s one reason why I called it Immovable Objects; the structure, layout and colour is solid and steadfast and there’s no room for your brain to believe it could flow in any other way. It’s especially potent when hung in portrait orientation; at this point I think it absolutely sets itself in stone.

Basically, it’s got a big pair of muther fucking balls.

Dragging and layering techniques

This pink and grey abstract features a modified dragging technique that I’ve not used before. I’ve combined a series of very thick paint applications with an overlay of very thin ones. In some places you can see the weave of the canvas underneath.

Pulling these two together, at just the right drying intervals, has resulted in some truly spectacular forms and finishes. It’s taken some practice though but we all know what practice makes don’t we boys and girls? Corner view of Immovable Objects by Swarez

Overall it’s the combination of direction changes and the subtlety of the tonal ranges that makes these dragging techniques work so well. There are many artists using these but few delve into the way in which they can be modified from a single drag into something rather wonderful and expressive.

When you consider paint volumes, how far to drag, what colours to use, where to place them and how big to make them it needs careful thought. Then you need to factor in the pressure from your arm and how quickly or slowly to move. Dragging paint is a simple premise that should, if considered properly, result in infinite variations and outcomes.

How deep is your love?

Deep. I love it. Really, really love it.

When I started with the concept I played with the idea that a combination of pink, grey, black and gold would look stupid. But a little practice with the dragging tools and some carefully prepared paint mixes have resulted in something I am utterly ecstatic with.

I haven’t got anywhere near to doing anything like this before so for me it sets new levels of what I can achieve – even if I’m the only one who can really feel the impact of that.

The painting is remarkably easy to live with, I might like to add. It’s power and presence don’t oppress and it really could be just the thing that brings a space together. My clients tell me that my work has a funny way of doing that; like it’s always been on the wall. Try unraveling that one!

Free home viewing

You pick the art, we bring the gallery.
That’s right, you can stay at home, sit on the sofa and let the art come to you.
Pick as many as you want to see and only pay if you decide to buy.

ADDITIONAL INFORMATION

  • Canvas: Polyester 340gsm
  • Preparation: One coats of primer, one additional skim coat
  • Paints: Enamel paint (8 colours) made to my own recipe
  • Frame: 44mm Museum graded floating frame with 8 tensioning corner wedges.
  • Hand-stretched and stapled on the reverse