Let’s start with the combination of colours. On the foreground layers we have a resplendent series of colours on show. Vibrant red, sunset yellow, vivid orange and a dash of bright pink all give themselves over to a very happy and free flowing composition.
I love using curved shapes in my work and use them wherever I can. In this painting the four main colours are all applied in soft curves that are applied from opposing ends.
I have used colours as they came from the paint tins so nothing is mixed, diluted or changed from the original spec I chose. It’s important to let the beauty of the tones you select radiate through whatever styles and shapes you weave them in to.
There’s a natural meeting point in the centre where all the paints meet, converge and depart again. It’s here that I have used a little chemical magic to add some cells into the paint. It’s just a little trick to add some detail to the regularity of the paint colours.
The background is an altogether different technique though. It’s a blended layer combining gold, burgundy, purple and a little yellow.
Having decided what the top should look like it was an easy choice to select the base tones that would show them off. Colour choices aren’t difficult when you start with the top layers – they will always dictate how the rest of the painting will, and should, look.
Where to hang it
This painting has tremendous versatility. it can hang behind a sofa, along a wall with a dining table, upright in a stairwell or in a passing space like a landing.
It has easy to love with colours but is bright and cheerful enough to remind you that you still have a pulse and that you invested wisely in that nice big abstract painting you always wanted.
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