Friday, 28 February 2014
Wednesday, 19 February 2014
Horizontals, verticals and decisions. Yellow, white and black lines, Feb 2014 Acrylics on canvas, 50cm x 75cm
Directions matters in an image, they guide the eyes and give a rhythm to our associations. Most of my work assumes a horizontal narrative. Verticals I find entirely different in nature, less forgiving but also more powerful. The energy given out by verticals is higher, the image gains urgency but there is little peace to be had. Horizontals are still, calm but has less to do with life. Perhaps this is why I prefer horizontals. It is a peculiar fact in my mind that were I to paint but two straight lines across the canvas, regardless of uneven positioning, they'll always work horizontally. Vertically the same two stripes would seriously corrupt the composition were they unevenly placed. Activity versus passivity, doing versus being and many similar analogies. I engineered a meeting between the two aspects in this work, and as you can see negotiations are in full swing. Unusually I used a brush here, a tool I rarely find employable.
Friday, 7 February 2014
The edges of the canvas can be approached in different ways. They can be the fence within which the motif lives, or finds itself arranged. Alternatively they can be the signallers that indicate to the viewer that what we see on the canvas may stretch out in infinity beyond where the canvas meets the wall. In the latter case the edges point outwards, into what we cannot see, whereas in the former case the edges invite us to partake in the feast that has been served up in the central area of the painting. I find myself using the latter approach in most cases. Here the areas propel themselves sideways into space at the same time as they stand perfectly still. All enquiries to www.stoopsgallery.co.uk
Thursday, 6 February 2014
The intensity of content is varied by many different components. Colour, shape and the proportions between them are fundamental building blocks to be sure. Beyond these we have an infinite array of other parts, and considering these, it's a challenge to stay even close to some kind of coherence in a painting. I worked carefully with areas, and placement here, and returned to the canvas numerous times. Initially texture had played a bigger role, but as the colours grew in significance the textural element diminished. I seeked the advice from fellow artists on a few occasions and this was always very helpful. The palette knife was again crucial for determining the nature of the outcome of this work. All enquiries to www.ptfineart.co.uk