Going green (and blue)
Lime green is one of those colours I would normally place as an accent rather than a primary colour.
It takes a degree of courage to place all your eggs in the green basket – it’s a great colour and in nature we are surrounded by it, but hanging a huge slab of it on your wall can be a little overwhelming.
Thankfully that’s where all those lovely blues come in. Blue is a great leveler of tone. I always think of it as being somewhere between black and white for some reason, in a way that grey can only dream about.
Part lagoon, part golf course!
My focus group do make me laugh! I should expect this kind of feedback from them after all these years but still they take me by surprise.
So yes, one thinks it’s like a tropical lagoon and another thinks of it as the 18th fairway at the Augusta National Golf Club! It’s good that we can see all kinds of different things as it means the story you unfold is uniquely your own.
In fact the painting is merely born from a love of colour and shape. That’s all. It leaves you to unravel it in your own time and with your own ideas. The name Magnetic Fields was really only given after it had been stretched around the frame. Very often I name a painting when it’s been finished rather than use it to form the painting around.
Paint textures and finish
There are some gorgeous effects tucked away in this painting. The gold is one of my favourite highlights. I’ve treated it to a little liquid latex before application so it forms these kinds of bubbles within the outermost layer. Very cool.
In fact I use two different metallic gold paints in this one so you get light refraction from two different lustres. It helps give an interesting tonal shift as you move around it.
My usual mix of gloss and semi-gloss finishes add some interesting textural changes whilst the inclusion of multiple layers of blue help add some dimension to the painting. It’s important to put some depth into the piece – especially with a colour as dominant as that green.
Linking the outside with the inside
Unlike many of my more recent paintings this one really does have its roots in the natural world. And whilst it’s loops and swirls weren’t directly influenced by trees and skies the colours most definitely were.
So to get the most out of this painting I would personally get it as near to a natural light source as I can and preferably somewhere where you can see trees outside. It’s perfect for being that link between mother nature and that crisp, white wall space you’ve been staring at!
- Canvas: Polyester 340gsm
- Preparation: One coat 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