‘The Delicate Sound of Thunder’
It’s a play on words of course but that’s exactly what this new orange, red and blue abstract painting makes me think of. Partly I think it’s the crescendo of colour that resonates from one side to the other. I can hear distant rumbles building into almighty bangs and claps before all is clear and calm again.
Beginning with a rich, deep series of interweaving blues these break free into a maelstrom of fiery red and orange. This tempestuousness soon gives way to calm and serenity with the remaining part of the painting given over to the clearing skies with their subtle tones and every-changing whites and off-whites.
Making new tools
I do enjoy mixing things up a little. With this painting I have enjoyed using a number of different applicators. Let’s be clear here – I rarely use brushes on anything so when I say applicators I mean anything from sponges to sticks and from syringes to rubber. Really it’s whatever I can get my hands on.
When I conceive a paint effect in my head I normally don’t have a way of achieving that right away; I usually get Adrian on to the case to make me something that I can use to get the effect that I want. This is my Research and Development process as far as paint application goes; it works very well actually yet most tools only every last for the duration of one painting before they’re done. I am constantly fettling with everything to see where it takes me. The paint is unforgiving and sticky; most of my applicators last about ten minutes!
On this painting I used a few bundles of wool taped together, half a mop-head, some foam rubber, a strip of window squeegee and some 20cl paper cups. If you look closely at some of the photos you may be able to pick out some of the applicators as they leave behind some tell-tale signs of their existence.
A mixture of techniques
Yes indeed – quite a few actually. Each colour segment has a set of different techniques used. The differences are quite subtle though but they are there. There are some distinct differences across all colour segments; I chose to mix things up like this so I could make each colour stand on its own merit instead of following on from the one that precedes it. It’s been extra work for me but I like to think that this attention to detail shows in the final piece – something that has been well thought out and beautifully executed.
This is going to be perfect on almost any wall. Colours are rich but also soothing. The size is ideal above a console table or sofa and, as it can be turned any way round, it can also suit a stairwell or tall wall that’s crying out for some life.
- Canvas: Belgian cotton medium weave; 11 0z
- Preparation: Two coats of primer
- Paints: Enamel paint (7 colours) made to my own recipe
- Frame: 44mm Museum graded floating frame with 8 tensioning corner wedges.
- Hand-stretched and stapled on the reverse
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