It’s not always necessary to cover an entire canvas with paint. Being able to leave space around what you’re doing is as important as the bit you’re trying to fill up. Artists call this ‘negative space’.
And so with Standing Ovation I sketched the shape in my head a thousand times to make sure I was going to be doing something that was aesthetically pleasing and fluid at the same time. In fact the background is painted and textured but it’s always going to be overshadowed by the tirade of colour that melts its way across the surface of the painting (it even goes around the edges too).
It’s a very shiny piece of art thanks to the additives I put into the paint mixes. It’s also built up of layers too, that’s how the depth of texture is achieved – by relentlessly piling up the paint, curing the it until it skins then reapplying again and again.
Shape is also important too. The large black curve acts like a cupped palm, holding the flow together and gently progressing it towards the edge of the painting. And it’s this clever use of colour that helps to make this art such a success.
Not too much of anything to cause imbalance, the right amount of weight with the darker tones and enough contrast between primary and secondary colours to help keep it in a constant state of motion.
And because it’s a square painting (measuring 48″) it can be rotated through all 4 axis – meaning you’ve essentially got 4 paintings in one. Ideal where space is tight but a big splash of personality is needed.