Combining the whole pink and blue thing
When I’m painting these pink and blue abstract art works I tend to begin with the secondary colours first. It’s important to have a supporting cast of paints to help the stars of the show shine. In this instance that’s a definite reference to the pink and blue.
I normally organise things the other way round but for Mind the Gap I had to figure out the other colours before I could work out how to arrange them all. Too much in the wrong place and it’s game over rather quickly. These matters have to be planned as best as I can beforehand.
You can’t ignore the shapes I’ve painted on this canvas. There’s something very satisfying about laying down these rivers and swooshes of paint (my own technical terminology!).
To get a good contrast for the main applications of paint I made sure that the background layer was a graded lilac and pink affair – fused with a little white and purple for good measure. It’s important to have a strong foundation to work upon. Furthermore, the white was graded in the centre so that the colours have room to breathe as your eye gazes over it. White is such a good colour for creating break points.
Easy does it
Onto this lilac and pink layer I’ve used a pouring method to get the paints applied; paying careful attention to the accent colours of bright red and metallic gold. As these don’t feature highly it’s critical they are used in exactly the right amounts otherwise you’ll either miss them (not enough) or they’ll punch you in the face (too much). It’s always a fine line between success and failure.
Personally I like the burgundy best – it has such a contrast to the pink but without it taking over. I love this colour and think it’s very underrated.
Goodness me where do I start?
I guess the most noticeable thing is the actual river flows themselves. I like pushing and pulling my paints into weird and wonderful shapes. On to this go the chemical additives to change the behaviours of the paint to my choosing. I’ve included splits, bubbles, separations, drops, twists, fades and blends.
Additionally, I’ve dissolved some of the paint rivers whilst in others I have kept their line structure as they were poured. Added to this is my playful use of gloss and semi-gloss finishes and some rather gorgeous metallic gold (which actually contains real 18ct gold powder); looks amazing when the light hits it.
Living with the colours
I think that if you’re looking for an original painting and a pink and blue abstract art work is not something you’d considered before then you may just be surprised with how easy it could be to live with.
On their own the colour combination is always going to suggest a children’s nursery or bedroom but when combined with the right accents to support them they transform into something really rather wonderful. Bold, charismatic and mature; that’s how I would conclude the feel of the painting.
- 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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