This painting is like having two pieces in one. In the picture above the painting is shown with the painted side facing out. Although it’s incredibly difficult to photograph the differences properly the changes are there. Reversing the picture so that the paint is on the back adds a subtlety to the piece that almost keeps it imprisoned behind a thick, pure, clear layer. This opens up a myriad of patternation that wouldn’t be visible when turned the opposite way round.
The pictures above clearly show the painted surface in spectacular fashion. Bold stroke work, clever blending of colour and striking marbling effects all converge to produce a truly stunning and unique piece of art. The use of unpainted lines to separate out the piece into distinct areas has let the individual cells become their own paintings – each of which could feature on it’s own canvas. So in actual fact this piece is twelve paintings front and back – so you could be buying an twenty four-painting piece of art.
Like so many of my works the complexity of the paint applications is staggering – just look at the left hand picture to see how some of the smallest areas have huge amounts of detail in them. The beauty of acrylic art is that you can see through it to the wall underneath which gives the art a three-dimensional appearance – almost like a piece of sculpture.
It’s clear from the two pictures above that turning the painting round to expose the unpainted surface gives a very reflective surface and reveals more about the piece. In fact the black layers are consistent between cells whereas the colours are uniquely applied to each individual cell. If you follow a black shape you can see that it carries on around the piece. You can only really get this if you show it shiny side up.
Mounted on chromium spacers (supplied) this piece sits away from the surface of the wall allowing light to pass through the gaps in the paint – always changing, always moving, thanks to the relative changes in the movement of natural light.
This particular piece measures 1000mm x 1000mm x 10mm. It was painted in five shades of industrial gloss enamel paint using a controlled pouring method I have perfected. Each of the paints was thinned to achieve a characteristically dense but even flowing consistency. The application methods have resulted in a fluid and liquid finish to the piece, offering a glossy and reflective surface on which to look upon. It carries weight which makes this piece feel substantial.
