Red and orange (and the name)
When you add in an equally powerful name it becomes something rather significant. And whilst we are on the subject of the name I would like to point out that it came afterwards the painting was finished.
That happens a lot. In fact nearly always. Though I have to paint with a clear idea in my head (this was entirely planned from a creative perspective) the names usually come to me after they are stretched and photographed.
it seemed entirely fitting that this got a name linked to the first World War. Why you may ask? Because that’s how it made me feel. interestingly I hadn’t had the slightest connection to this subject matter during its creation – it was only after I sat back and looked at it did the name come in a flash. When your gut creams out you have to listen.
So what do we have here then?
Good question. The painting is composed of two main layers. The background is a series of applied colours that have been loosely fused into a single mass. These colour blends are deliberately defined (rather than a series of finely mixed gradients) and have some crisp edges and sharp contrasts.
On to this comes the foreground paint layer that runs from corner to corner. This was made up from pink, gold, white, red and black enamel paints and was completed in one session. And of course there’s a healthy dose of orange in there to help link the top and bottom parts together.
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