THE STORY BEHIND IT
If ever there was a painting I could use to demonstrate my love of colour it’s this one.
The painting comprises some very carefully placed sweeps and drags to produce wave upon wave of rich, intense colour. Each one carefully placed with a complimentary neighbour, each one just the right thickness to work within the whole as well as on their own merit. I’m never overbearing with one particular tone and never overstep the line between darkness and light. The painting is beautifully balanced and thoroughly planned from beginning to end.
This regularity and thought in approach can sometimes lead to a uniformity that borders on routine. So part of the subtly of this painting is in the details I placed at intervals to help give it a little slap in the face from time to time.
Break points (as I call them) are an important weapon in my armory; they help the eye to look for natural resting points before moving on to other places. For abstracts, like mine, this can be essential to prevent the composition from becoming too regimented (unless that’s the look I’m going for – as with many of the lines paintings).
There is a swell of liberation in this painting too; it was created over three sessions during a break in our miserable autumnal weather. Clear blue skies overhead, acres of natural light and a fully charged iPod. Repeat three times and this is what you get. Pure, effortless and uplifting.
If you care to look through some of the other photos you’ll notice some of the details that this painting carries. I like to have my work connect from both near and far. And it’s very often the smallest details that can help achieve that.
You may notice from some of my other work that I’m a massive Status Quo fan. This is named after one of their iconic tracks, and a highlight of their historical live sets. I’ve known versions of it go on for 25 minutes which, for a band known for other things, is nothing short of epic.
In fact it’s a showcase for their diversity as much as it is for anything else. Perhaps that’s why it seemed to fit so well to the painting.
- Canvas: Scandinavian cotton coarse weave; 365 gsm (11.60z)
- Paint: Enamel paint (12 colours) made to my own recipe
- Frame: 44mm Museum graded floating frame with 8 tensioning corner wedges. Made from European softwoods from substantiate forests
- Hand-stretched and stapled on the reverse
- Signed on the reverse (so you can hang it in any orientation)
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