This is a new kind of painting for me on a number of levels.
Firstly I don’t normally do squares; it’s just not a shape I have ever really been comfortable with. Don’t know why but my arms always seem to run out of room. Secondly, and most importantly, is what I have chosen to do on the canvas itself.
If I was to tell you the paint is thick I would be doing it an injustice. It’s very, very thick. Yet again I’m pushing the limits of what my paints will do. I haven’t painted anything with this much paint on it – ever. And it’s not like building up layers using oils or acrylics where you can sculpt it using structured mediums.
Let me say now that as soon as you add any kind of compound to my paints it not only dissolves it but it also turns it into a gloppy mess of sludge. So I am always facing challenges and coming up with new ways to do things. Enamels are amazing but a total nightmare at the same time.
So the only way to build up these extraordinary layers of paint is to apply small layers and keep going until you can’t go anymore. They are not achieved by single pours either – this effect is built up over seven sessions (in this case) with the top layer carrying the majority of the colour.
And it is perhaps this element that really makes this piece work so well. Every colour I have is in there somewhere. As I wanted to go for the melting look I needed to carry small rivers and waves that would make the movements look like they were dissolving off the canvas. In fact the paints to go all the way round the edges so that’s another way I can promote the sense of something having melted. It’s lyrical, effortless and perfect for just about any space.