Greay art called No Turning Back

Is lots of grey a good idea?

Yes it is and you can definitely feature a large grey contemporary painting in your home. Don’t feel that because it’s predominantly grey that it’s either boring or mundane. Believe me, this painting is anything but!

The trick is to get the wall colour right and to make sure you have a few jet black accessories knocking around nearby. In fact grey is one of the easiest tones to place, live with and enjoy. It’s what we do around it that makes all the difference. I think an open plan room with white in it is probably best but almost any feature wall can take it.

Using gold in my paintings

One of my favourite painting colours is gold. It has a huge range of abilities; from tiny accents to massive blocks. It’s a timeless colour that stirs lots of emotions. However, on a purely artistic level it’s enormously grounding and is critical in adding warmth.

And in No Turning Back that’s exactly what it does. The use of black and white is all very well but it can feel isolated and cold. Bringing a little humanity to a stark painting can sometime be tricky depending on the concept in mind. In this contemporary painting though it was easy to place – a few well chosen applications was all it took. Bingo! The cold has disappeared.

Paint effects

If I’m sticking to a simple range of colours then it usually stands that I pack in as many effects and details as I can. This is the kind of thing that I have become known for and in this painting it’s no exception.

In fact the levels I have gone to to keep you interested verge on the obsessive. I’ve got everything from river flows and droplets to textured ridges and dispersed bubbles. I have used an ageing technique, a retardation on the gloss finish and stirred, mixed, poured and syringed more paint than I care to think about.

A labour of love

I’m pretty sure that the effort that goes into each of my original artworks would genuinely surprise you. Putting great care and attention into something will always translate into something wonderful; that much is evident when you stand in front of one of my paintings.

I really am obsessed over the quality of my work. When you go through as many tools, processes and experiments as I do (and that’s consistent across every painting I put out) you know you’re doing something of value and worth.

And when that happens there really is no turning back.

Here endeth the sermon.