190cm x 160cm (75″ x 63″)
One-off original painting
No prints or reproductions
Fully Certificated with valuation
Heat, UV and fade resistant
Hang in any orientation
A beautiful large red and black painting
Yes, I do think it’s beautiful. Black Magic has been in my head for about 2 years, both in terms of the name and of the painting it would eventually become. In that time I’ve been looking for the perfect canvas on which to paint it. In the end I opted for this stunning matt black heavy cotton canvas; something that really shows off the capabilities of my enamel paints.
The very best materials
When using red and black painting can be a tricky business. If you don’t get the ratios right you get one colour overpowering the other. Add in the black canvas base and you can get this wrong very easily. In part this is why I’ve taken 2 years to create the painting – I just had to be sure I knew what I was doing before I started it.
Besides, the canvas is expensive and not something I want to waste much of. So to are my paints.
Constructing the shapes
In simple terms it’s two inverted ‘V’ shapes. However, part of my plan was to deconstruct them with a series of other applications – to help divert your attention away from them. I like the idea of disassembling something then reconstructing it at the same time.
The ‘V’ shapes were painted at different times, even though they look blended together. I have the ability to keep my paints in a liquid state almost indefinitely (thanks to some chemical wizardry) so being able to stop before I carry out the next sessions means I can take some proper time to decide what happens next. It’s a remarkably simple idea but one that has taken six years to get right.
What my focus group think
Every once in a while I create something a bit special and with a strong universal appeal.
My focus group have been unanimous in their appraisal of Black Magic. That doesn’t mean to say they’ve all jumped around saying it’s the best thing since sliced bread, merely that their feedback has been consistent with what you’d expect for something that’s flawlessly executed, intensely dramatic and has a very obvious maturity about it.
Every member of my group has given me positive feedback; that’s never happened before. Someone normally loathes something or has a critical observation. So I’m in new territory here.
Can you live with it?
Yes you can. It’s actually quite a light and airy painting despite the black canvas and paint and despite being quite a large painting. It never feels oppressive but it will always own the space.
It’s a very compelling painting too; it seems to draw you towards it from wherever you view it. I like that. It means it has a personality. It’s dimensional and won’t bore you within two weeks of owning it.
It wants to befriend you and share its story. And that can change every time you look at it. No doubt you’ll draw your own conclusions but one thing is for sure – you certainly can’t miss it. And for that I consider it a job well done.
- Canvas: Heavy cotton weave; 15 0z coated with black gesso primer
- Preparation: No addition prep to the canvas surface
- Paints: Enamel paint (6 colours) made to my own recipe
- Frame: 44mm Museum graded floating frame with 8 tensioning corner wedges.
- Hand-stretched and stapled on the reverse
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