Named after one of Jupiter’s’ moons
The painting carries majesty, presence and individualism. One of the most overwhelming and striking parts of this painting is the use of silver aluminium paints. The applications I have created form complex yet subtle slabs of silver intersected and blended with other opposing colours.
The use of a light duck-egg green enamel paint has helped to bridge the gap between the harshness of the metallic and the boldness of the other primaries. I think that this painting would have struggled without it.
One of the most compelling characteristic of this artwork is the feeling of age I have given it – deliberately applied with paint to convey the bruised and battered nature of the moon surface and it’s volatile parent, Jupiter. Maybe I shouldn’t admit this but it was a shit to paint, I mean, really really frustrating. There are many reasons why, all of which will be saved for a blog post soon, but it was technically demanding and incredibly complex to get right.
The colours are unusual and in many ways very subtle – I preferred not to shout about the delicate detailing for a change. Instead I wanted to let the tactile nature of this piece come through. It is as subtle or explosive as you want it to be, which I think is the most appealing part of painting this canvas. It is neither one thing or the other.
One thing is certain though – it is unusual, partly down to my choice of paints yet also because of what I have done with them. Oh and it’s quite big too but you may consider filling a complete wall with it and giving a space some real conversation and pizazz…nothing says ‘I’ve arrived’ like a big piece of original abstract art.