This is a large acrylic work exploring the possibility of creating the illusion of movement in painting. I am always in two minds about using acrylic and I often find myself switching to oil paints after a period of time. (Please note, you can make the change if the oil paint layer is applied after the acrylic, not the other way around). To be accurate, you can break the rules and add acrylic to an oil base but the results can be unpredictable and tend to make the top layer unstable. The secret for me is not to judge a work completed in acrylics by the same criteria as a painting completed in oils. I have never been able to replicate the natural qualities of oil paint in acrylics and the use of acrylic mediums will only take you so far. However, they are fantastic for making bold statements in colour.
The influence of the Italian Futurists can be seen in this work and I’m currently building translucent layers with the addition of a slow drying agent and various glazing mediums. Speed and confident execution are key in maintaining freshness and immediacy on this scale. I have literally been dancing in front of the canvas in a style reminiscent of Irish stepdance, albeit with my feet anchored to the ground and my arms flailing like a whirling dervish. Let’s see how it develops…those white areas are definitely too strident at the moment.
A day in the life of a large-scale abstract painting. This is the third day on this particular piece and I’m really enjoying the process of making marks. I’m trying to achieve a sense of energy, dynamism, and optimism. Sweeping arcs of translucent color seem to be the way forward using a broad range of arm and hand movements There is no room for hesitation or excessive deliberation in this approach. As a musician, I feel this approach has a great deal in common with the seamless transitions of ‘slide’ guitar.
Language is a wonderful invention, the moment we are presented with a new word, meanings shift and change, conjuring a world of ideas and thoughts. This painting is a patchwork of shapes inspired by the work of the Swiss artist Paul Klee. It uses geometric shapes, intense tonal contrast and iridescent highlights. There is a suggestion of land enclosures, rivers, lakes and isolated dwellings. There is also a strong sense of rhythm and chord like sequences of colour. It is designed to be warm, uplifting and meditative. I loved the process of creating it.
The geometric forms in Paul Klee’s compositions have always fascinated me. There is a natural rhythm to his paintings and a disarming simplicity. They look like brightly coloured patchwork quilts. A love of music influenced him, and the recurring motifs and shapes are reminiscent of chordal and harmonic structures. This is a work in progress and I am continuing to experiment with tonal contrast and scale.
This is one of a series of acrylic paintings on hand made 300 gsm paper and I’m enjoying the immediacy of working on this high quality textured surface. The shapes and colours of the painting show exuberance and optimism and a delight in the here and now. The curved and straight lines celebrate visual contrast and compositional balance. There is a flowing movement from left to right across the picture plane, which together with the warm colours begins to explain the choice of title. You will no doubt see elements of both Cubism and Futurism in the multi-faceted viewpoints and the intriguing interplay of foreground and background spaces.