Perhaps it’s the impending arrival of November the 5th that subconsciously drew me to the subject of fire. I remember chatting to someone about childhood memories of bonfires, at the top of my garden, that my dad used to light.
Then I got to thinking about the times I’ve been away on holiday and had the opportunity to make a real one, in a log burner, for my family. There’s a primeval attraction to fire and it’s one that will always be within us.
Bear in mind though that I am an abstract artist and therefore the painting is simply a suggestion of the subject matter rather than an actual representation, so that’s worth bearing in mind as you read the rest of this.
Notes on colour choices and forms
As with the very nature of fire itself I am concentrating on two key areas here: colour and shape. They’re prevalent in real fire (along with the temperature aspect that I can’t replicate) and exist within a mainly orange/yellow spectrum of colour.
And although this is represented on well over half the canvas I also wanted to explore the more intense side of things by concentrating much of my effort down in the red part.
This is the the real underbelly of the painting and its expressive nature delves into the very hottest parts of the flame. I imagine a prehistoric burble of burnt methane and sulphur as it reacts with the unburnt air around it. I like the nature of the escape and suppression qualities this painting also brings.
Where flames escape into the embers of the night others remain trapped in an inferno of endless atomic recycling.
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