Cobalt Sunset

Two chairs and a large painting behind them

A large painting with gorgeous blue tones and linear shapes

Doesn’t matter if you have a coastal retreat, a two-up-two-down or a shed in the garden, this painting will feel at home anywhere. Beautiful structure, calm colour and just enough drama to remind you that you’re still alive.

180cm x 130cm (71″ x 51″)
Heat, UV and fade resistant
Fully Certified

£3200

includes UK delivery and VAT

USEFUL LINKS

RENT FOR £105 pcm

One monthly fee
No complex contracts
Damage liability included
FREE installation and delivery

THE STORY BEHIND IT

I have a sea thing going on at the moment – the desire to move to the coast and be near the ocean. It’s inevitable that these dreamy meanderings will lead to some kind of subconscious output at some time or another. So I make no apologies for the intense use of blue in this new painting.

And many there are too. In fact this new original artwork debuts two of my new metallics – ice blue and water blue – paints I have had specially blended over a period of four months (I’m bit obsessive over them). These two new blue themed paints are rather subtle but incredibly beautiful. One of the reasons for this is the quality of the metal powder I have put inside them. But let’s not go all technical for a change; let’s just enjoy them!

The inclusion of a number of blue tones is great but to really set them off I’ve gone for a selection of underpinnings in different colours and then very carefully let these show through. The net effect of this kind of application technique is to ‘layer up’ the painting so that it reveals its underside the more you look at it.

Now, there’s nothing wrong with smooth, single wave applications (that don’t contain any layering or depth) but there is something rather magical about revealing the hidden structures of a piece of art. I often think of it as being more involving and absorbing than staring at a flat surface.

So that brings us onto the shapes and structures that make up the painting. Let’s face it, colour is colour but it needs a context to exist in, otherwise it loses some of its beauty if it sits alone. So I’ve gone for a regular, linear application method that essentially utilizes a custom fabricated squeegee and a very long pole. Sounds simple right? I wish that was the case.

One of the biggest problems with this kind of layering technique is the need to explicitly control the pressure and rate at which the tool is moved. Anything too firm or too quick and it all comes off at the other end, anything too slow or too light and it coagulates into brown sludge. Like everything I try to master it essentially comes down to doing lots of practice and understanding how my materials work together.

So whilst you could easily go make a tool to have a go for yourself it may take you a while until you can create the really important stuff – compositional layout, details, line structures, dark and light balance, colour dispersal, layering depth, curing rates -really, the list does go on and on. It’s only when I sit down to write about it do I realise what goes into each painting.

For example; consider the large orange area that has it’s balance in the yellow opposite it or the delicate striations of gold that get offset by the subtlety of a gentle sky blue beside it. I really do try to pack an enormous amount of detail into my work; I guess you just need time to live with one to really get the full experience. It’s the reason why I tend to have a back catalogue of work (that may have been created over a year ago) that’s only just making it onto the site – I enjoy learning about them in my own time first before I release them.

Anyway, back on Planet Earth, this painting has enough structure to satisfy our desires for order yet enough twists and turns to appeal to the carefree side we all have. Add to that the depth and range of these gorgeous metallic blues and what you get is an art work that satisfies on almost all levels. But that’s just my opinion of course…

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.

ADDITONAL INFORMATION

Materials
  • Canvas: Belgian cotton medium weave; 11 0z
  • Preparation: Two coats of Gesso 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
  • Signed on the reverse (so you can hang it in any orientation)
Viewing and Delivery
  • Book a visit to my Gallery in the UK. Mail or call to arrange
  • I will come and see you with a selection of my art – all included in the price
  • I run a fully-insured international art delivery service and take my work all over the world
  • EU, USA and other International shipping is available
  • My team will hang this painting for you
  • If you like this painting here’s what to do next
Contact Me

HOW CAN I HELP YOU?

VIDEO

Take a look behind the scenes, with full commentary.

Artist wearing a breathing mask