THE STORY BEHIND IT
Although this is primarily an abstract purple painting (thanks in part to the tonal variations on the background layers) it’s also very red. These are two colour combinations that I love working with.
I’ve done one or two in the past in this combination (Red Five is perhaps my favourite) but nothing in this ratio and certainly nothing as abstract. But that’s a good thing, it means that I’m always looking for new ways to interpret ideas and thoughts. I get very anxious about regurgitating old ideas. It keeps me awake at night.
One of the cool things about this painting is the use of a brand new fluorescent pink slash right through the centre. Photographing this colour has always proved to be nightmare and I’ve rarely been able to capture its brilliance properly.
So you’ll have to take my word for it when I say that it’s the bit that brings the whole painting to life. But don’t be scared though, it’s all done in the best possible taste.
In this case it’s the black that adds some well-needed structure and grounding. I’ve been very careful with where this is placed and in what quantities. Black is a very final and definite colour and is probably the one I am most conscious about using (during many paint sessions I have been known to have a fairly liberal right hand when it comes to dispensing black!). In a bid to add a little warmth to the painting I have added some metallic gold highlights to one of the corners.
There are some spectacular criss-crossing intersections going on too. In some areas I decided to mix them as they meet and in others I kept them following their own directions. These are neat little accents that I like to feature as often as I can, I think it helps you continue your journey of discovery as you begin to spend a little time with it.
Detailing is very important to me and in my opinion it’s this level of attention that separates a great piece from a good piece.
This is a very fresh and lively piece of art and will happily sit in any contemporary or modernised living space. It doesn’t need too much light and as it’s signed on the reverse it can hang in any orientation.
It’s a sensible size too and won’t take up too much room either – perfect if space is at a premium. It could look great on a coloured wall like grey, stone, or any shaded tone you care to think of as well as almost any kind of white one.
- Canvas: Belgian cotton medium weave; 10 0z
- 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
- Signed on the reverse (so you can hang it in any orientation)
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