Combining the colours
I am a huge lover of pink. I never think of it as being a feminine colour though, despite what society will have us believe. This pink and grey abstract painting (yes I know it has a heavy use of some very dark tones) is made up of some incredible shapes and a combination of colours that I have never used before.
Much of the success of it is down to the contrast between light and dark. Although on this occasion I have kept the black and dark grape colours in a contained ‘L’ shape around two sides. What this does is allow the lighter colours to show off and take on their own personality. The colour combination is fantastic I think and massively helped out by the use of gold and a dash of fluorescent red.
Getting all moody and mean
The painting has a definite dark side to it. Don’t hide under the duvet though – it’s not that kind of darkness I am referring too. Think of it as a kind of intensity rather than anything sinister.
The painting has significant gravity and weight and this is down to the placing of the colour blocks and movements. It’s one reason why I called it Immovable Objects; the structure, layout and colour is solid and steadfast and there’s no room for your brain to believe it could flow in any other way. It’s especially potent when hung in portrait orientation; at this point I think it absolutely sets itself in stone (so-to-speak).
Basically, it’s got a big pair of muther fucking balls.
Dragging and layering techniques
This pink and grey abstract features a modified dragging technique that I’ve not used before. I’ve combined a series of very thick paint applications with an overlay of very thin ones. In some place s you can see the weave of the canvas underneath.
Pulling these two together, at just the right drying intervals, have resulted in some truly spectacular forms and finishes. It’s taken some practice though but we all know what practice makes don’t we boys and girls?
Overall it’s the combination of direction changes and the subtlety of the tonal ranges that makes these dragging techniques work so well. There are many artists using these but few delve into the way in which they can be modified from a single drag (with a few basic colours) into something rather wonderful and expressive.
When you consider paint volumes, how far to drag, what colours to use, where to place them and how big to make them it needs careful thought. Then you need to factor in the pressure from your arm and how quickly or slowly to move. Dragging paint is a simple premise that should, if considered properly, result in infinite variations and outcomes.
How deep is your love?
Deep. I love it. Really, really love it.
When I started with the concept I played with the idea that a combination of pink, grey, black and gold would look stupid. But a little practice with the dragging tools and some carefully prepared paint mixes have resulted on something I am utterly ecstatic with.
I haven’t got anywhere near to doing anything like this before so for me it sets new levels of what I can achieve – even if I’m the only one who can really feel the impact of that.
The painting is remarkably easy to live with, I might like to add. It’s power and presence don’t oppress and it really could be just the thing that brings a space together. My clients tell me that my work has a funny way of doing that; like it’s always been on the wall. Try unraveling that one!
- Canvas: Polyester 340gsm
- Preparation: One coats of 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
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