This new pink, gold and red abstract painting is very reminiscent of cherry blossoms. In fact, its name is derived from the Japanese terminology for cherry blossom.
Although used in a wide variety of connotations (and has varying contextual translations) it’s inextricably linked to the spiritual connections of cherry blossom tress – even though Sakura is technically the name of the flower of the Japanese Cherry (Prunus Serrulata). Other varieties are also found in Japan.
It seemed a fitting name to a painting that wasn’t created with cherry blossoms in mind but whose name came after the canvas was stretched around the frame. That happens a lot.
How I composed the painting
As with all my original paintings I try to conceive its final look weeks ahead in my brain. I normally start with either a subject matter or a palette of colour. Then I move on to layering and construction. So, I may think about what density of colours will go where, what directions to move paint in and how the delicate balance between light and dark will play out.
When I have a concept, I am pretty much ready to go.
And so, to Sakura Spring. It’s clear to see how the light and dark elements play with each other here. We have maroon bordering the pink, as if to protect its fragility whilst repelling the lightness of the silver at the same time.
In opposing corners there’s a hint of black that gives way to red and it’s this that give the painting its depth. It’s never too heavy or unbalanced and all these components lead the eye to the spectacle that moves to the centre of the painting – the pink and gold.
And whilst there is no discernible focal point as such one can’t help but be drawn towards the middle. It’s like an actual cherry blossom itself really – there’s always the point from which everything else grows outwards.
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