Pacific Crest

A slim, long painting created with red and purple colours

If you see a red dragon that’s great.
That was actually the intention but not to make it too obvious. I mean, it’s still an abstract painting after all.
Every now and then though I can’t resist painting something that’s almost something you recognize but not quite.


One-off original painting
No prints or reproductions
Includes a Certificate of Authenticity & Valuation Certificate
Heat, UV and fade resistant



200cm x 60cm (79″ x 24″)
Can be hung on any substrate or surface (except glass) and in any orientation
Stands out 46mm from the wall


You got the dragon right? I hope so. Just enough there to suggest but not to much as to overwhelm. I do like dragons though, particularly there place in Asian cultures and I have studied their cultural and historical importance with great interest.

As far as translating that into a painting it was a choice led by the combination of two colours I love the most – purple and red. Over the last few years I have created a dozen or so specifically in these two main colour combinations (two of which I kept for myself by the way). Each one different to the next. In fact you can see these in other paintings that are on the site (Ten Seconds From Now, Come Back to Sorrento as examples).

The richness and expressiveness of these colours are unlike anything else I can think of. Together they become even greater. In addition to these I have woven in some metallic silver blends and the merest hints of lime green and deep blue. The contrast of textures is also pretty crazy, especially as light reflects off it. I’ve made the top most layers as glossy as I can whilst using the opposite on the background layers. The result is a tonal balance between shiny and matt that adds great depth and textural resonance.

I’ve been careful to break up the main red applications with other colours otherwise it would become too much; this process has also enabled me to segment parts of the painting in order to break up the composition but still maintain the overall shape. It’s a subtlety that I’m really pleased with, even if it doesn’t necessarily become evident first time around.

And having had this behind my own sofa for a few weeks now I can tell you that even in a poorly room it’s surprisingly warm and easy to live with. I’ve slumped horizontally and gazed up at it whilst relaxing and it’s amazing how much detail you can pick out. I like that, I like that a lot.

  • Canvas: Scandinavian cotton coarse weave; 365 gsm (11.60z)
  • Primer: Two coats of Gesso applied
  • Base Coats: Not applied to this piece
  • Paint: Enamel paint (7 colours) made to my own recipe
  • Frame: 44mm Museum graded floating frame with 8 tensioning corner wedges. Made from European softwoods from substantiate forests
  • Hand-stretched and stapled on the reverse
  • Signed on the reverse (so you can hang it in any orientation)

Additional images

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